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Iris Barry: American Film Archive Pioneer Bruce Henson School of Information and Library Science University of North Carolina at Chapel Hill

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Iris Barry: American Film Archive Pioneer Bruce Henson School of Information and Library Science University of North Carolina at Chapel Hill IRIS BARRY: AMERICAN FILM ARCHIVE PIONEER BRUCE HENSON SCHOOL OF INFORMATION AND LIBRARY SCIENCE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL Since their creation in the early 1890s, motion pictures alone institutions, large organizations, or government have emerged as one of the great art forms of the Twen- agencies, striving to make their “collections available tieth Century. Today, a public awareness exists in for viewing, whether for scholarly, artistic or generally America of the necessity of preserving the history of cultural purposes ” (Bowser & Kuiper, 1980, p. 13). In film. Until the mid 1930s, however, film was not ac- order to achieve this goal, archives collect, catalog, pre- knowledged as an art form and was considered expend- serve, and renovate their films. able after its commercial value was exhausted, a situa- In terms of comprehensive film collection and ex- tion that resulted in the irrevocable loss of many films and enormous gaps in America’s film heritage. Iris hibition in the United States, the privately funded film Barry’s legacy to American film archives is pervasive in archive established at the Museum of Modern Art that she was able to remedy the failure of film produc- (MOMA) in New York City in 1935, has served as the ers, government, and the public to recognize the sig- model for all future archives. The pioneer of the Ameri- nificance of preserving motion pictures, and to elevate can Film Archive field is Iris Barry, the first curator of film to the status of art, thus ensuring that film is avail- MOMA’s Film Library. Barry established standards and able for study in perpetuity. Curator Barry made a practices which were eventually adopted by the film in- comprehensive study of film possible, for the first time dustry for collecting and providing access to film in a in the medium’s history, at the Museum of Modern Art’s manner that “gained recognition for the cinema as the (MOMA) Film Library, which opened in 1935. At major new art form of this century” (MOMA, 1984, p. MOMA, Barry established the foundations of an Ameri- 527). By acknowledging film as an art and by halting can field that would grow tremendously, creating in- the widespread destruction of films, Barry made a com- dustry-wide standards and practices for collecting and prehensive study of film possible for the first time in providing access to film. the 40 year history of motion pictures. FILM PRESERVATION BEFORE BARRY Motion pictures have emerged as one of the great art forms of the Twentieth Century. Although a public In 1891, the Thomas A. Edison Company patented awareness exists today of the necessity of preserving the a Kinetiscope to photograph motion pictures and a Ki- history of film, for the first 40 years of the medium’s netograph to project motion pictures. During the 1890s, history, film was not acknowledged as an art form and Edison and others worked to refine production and ex- was considered expendable, a situation that resulted in hibition techniques; films were first shown commercially the irrevocable loss of many films and enormous gaps in the United States in 1895. The Edison Kinetiscope in America’s film heritage. It is estimated that 75% of Co. registered the first film copyright in the United all silent films and 50% of all sound films made before States with the Library of Congress on October 6, 1893. 1950 are lost (Slide, 1992, p. 5). Contemporary Ameri- The film was subsequently lost by the library, and as can film archives consist of organized collections and such is “symbolic of the fate of thousands of American repositories of films and film materials, and exist as stand films in the past” (Dalton, 1991, p. 61). © 1997 Bruce Henson [email protected] School of Information and Library Science, University of North Carolina at Chapel Hill The Katharine Sharp Review [ISSN 1083-5261] No. 4, Winter 1997 [http://edfu.lis.uiuc.edu/review/winter1997/henson.pdf] HENSON/IRIS BARRY: AMERICAN FILM ARCHIVE PIONEER American films have been lost through deliberate America’s film heritage slipped through its fingers” destruction, neglect, fire, and decomposition, although (Herrick, 1980, p. 6). The Library is the national re- an awareness of the need for film preservation has ex- pository for copyright items, although copyright law isted since the medium’s infancy. The December 1, 1906 did not specify films until 1912. In the period 1894- issue of the early film periodical Views and Film Index 1912, film producers deposited at the Library paper includes an editorial asking the preservation question, contact print copies of their films, copies that were made “are the manufacturers aware that they are making his- directly from the negative. The paper print copies were tory?” (Slide, 1992, p. 9). Film historian Terry Ramsaye, stored in the Division of Prints, per the 1865 copyright in a 1923 Photoplay editorial “Lest We Forget,” dis- law that included photographic images and negatives. cusses films and film materials and states the need “to The Townsend Act of 1912 included two new copy- specially preserve these things, to hold them together right categories for film: Class L (motion picture for their sentimental and intrinsic values to the motion photoplays) and Class M (motion pictures, not picture and its public” (Slide, 1992, p. 15). Films were photoplays) (Herrick, 1980, p. 6). After passage of the viewed by a majority of producers and the public dur- Townsend Act, the Library’s Print Division did not have ing the first half century of their production as “mere the space or staff to house films, so the Library adopted entertainment with no importance beyond immediate a policy whereby film producers could submit support- commercial exploitation” (Dalton, 1991, p. 61). After ing paper film materials to the Library—e.g., scripts, their initial release, films were considered to be of no posters, etc.—in lieu of films. Subsequently, in the 30 value by production companies that didn’t want to pay year period encompassing 1912-1942, only 30 actual storage costs, and negatives and prints were often de- films were collected by the Library. stroyed deliberately, or the nitrate film sold for its sal- vage value as silver was contained in the film base THE MUSEUM OF MODERN ART (Weinberg, 1969, p. 7). Studios and distributors saved AND IRIS BARRY only those films that were thought to have a re-release value. Film historian Anthony Slide (1992) states the “se- In 1914, Columbia University offered the first rious work of film preservation in the United States can known instance of film study lectures in the United be dated from the founding of the Film Library of the States. The University had approached the newly Museum of Modern Art (MOMA) in 1935” (p. 18). In formed Famous Player’s Film Co. in 1912 with an offer the 1929 outline of the plan for the museum, Alfred to store one copy of each of its released films—the first Barr, MOMA’s first director, “recommended that com- known instance of deliberate film preservation (Slide, mercial and industrial art, theater design, film, and pho- 1992, p. 17). At the end of the 1920s, both the Univer- tography” take their rightful position in the museum as sity of Southern California and the Academy of Motion art, alongside painting and sculpture (Akermark, 1980, Pictures Arts and Sciences began to collect film materi- p. 3). Museum trustees urged Barr not to publicize his als such as papers, scripts, posters, and books on film, recommendation until the museum was established, as but not actual films. it was considered “highly unusual to consider films as The government agencies charged with collecting art or as a medium worth preserving” (MOMA, 1984, films, the Library of Congress and the National Ar- p. 18), and a majority of people thought of film as an chives, lagged behind private archives in terms of col- “industrial product made for a mass market” (p. 527). lection until the mid 1960s. The National Archives and In a 1932 MOMA pamphlet, “The Public as Artist,” Records Service (NARS) was created in June 19, 1934— Barr wrote that the “only great art [film] peculiar to the its new building included 20 film vaults, each with the twentieth century is practically unknown to the Ameri- potential of holding 1000 reels of film. The Archives’ can public most capable of appreciating it” (cited in Motion Pictures and Sound Recordings Division fo- Akermark, 1980, p. 3). The evolution of MOMA’s re- cused on the collection of both film footage produced nowned film library collection can be credited to Barr by the federal government and films of historic inter- and to the hiring of Iris Barry in 1932, who was the est, although insufficient government funding and lack ideal person to make Barr’s idea of treating film as art a of storage space hampered the Division’s collection of reality. materials. Iris Barry had a background of determination and The Library of Congress was the “first government non-conformist thinking that well suited her for the role institution to collect films, yet over the years much of of a film preservation pioneer. As a child Barry “shocked KSR 4 (WINTER 1997) 2 HENSON/IRIS BARRY: AMERICAN FILM ARCHIVE PIONEER her grandmother by spending every spare hour at the hair was black” (p. 106). Remembering Iris Barry movies,” when films were considered extremely disrepu- (Akermark, 1980), a collection of colleagues’ reminis- table (Akermark, 1980, p. 11). In 1911, Barry was ac- cences of Barry published by MOMA in 1980, discusses cepted at Oxford University, but never attended, instead, attributes she possessed that were to serve her well as she traveled to France, working at routine jobs and writ- curator of the Film Library as “her intelligence, her ing poetry.
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