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Report to the U.S. Congress for the Year Ending December 31, 2014

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Report to the U.S. Congress for the Year Ending December 31, 2014 Report to the U.S. Congress for the Year Ending December 31, 2014 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage June 1, 2015 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (P.L. 110-336), I submit to the U.S. Congress the 2014 Report of the National Film Preservation Foundation. As you know, past reports were sent by Roger Mayer, founding chair of the NFPF’s Board of Directors. Sadly, Roger passed away as this report was being compiled. Roger’s advocacy and passion for film preservation were inspirational and instrumental in bringing attention to the cause. From the Holly- wood masterpieces he helped save while at MGM to the home movies he heralded as chair of the NFPF board, Roger saw film as vital history. As a leader his strength and conviction were balanced by his sense of humor and humility. We will strive to honor his memory through our continued dedica- tion to saving America’s film heritage and bringing these precious images to new audiences. In 1996, Congress created the NFPF to unite archives, libraries, and museums around the goal of saving America’s filmed history before it was too late. Thanks to federal funding secured through the Library of Congress, entertainment industry support, and the unwavering dedication of preservation- ists, there is much good news to report. As of 2014, the NFPF programs have preserved more than 2,150 motion pictures—newsreels, actual- ities, cartoons, silent-era productions, avant-garde films, home movies, and other independent works that might otherwise have faded from public memory. Tremendous credit is due to the 273 institu- tions that have tapped our programs to save culturally significant motion pictures. Once copied to film stock and safely archived, the works begin a new life through teaching, exhibition, broadcast, DVD, and the Internet. All this has been possible thanks to the unflagging commitment of our major supporters: the Academy of Motion Picture Arts and Sciences, The Andrew W. Mellon Foundation, the Cecil B. De Mille Foundation, The Film Foundation, the National Endowment for the Arts, the National Endowment for the Humanities, and the Weissman Family Foundation. It cannot be repeated enough: The leadership of the Library of Congress and particularly your sage guidance have mapped out our course and allowed us to assist the nation with the preservation of its film heritage. We are hon- ored to continue this partnership in the years ahead. Sincerely, Jeff Lambert Executive Director National Film Preservation Foundation REPORT TO THE U.S. CONGRESS FOR THE YEAR ENDING DECEMBER 31, 2014 Contents 2 Saving America’s Film Legacy 4 International Partnerships 6 Appendixes One: Films Preserved through the NFPF Two: Financial Statements Three: Contributors Who We Are Cover: Tommy Kiman (right) in The National Film Preservation Foundation is the indepen- Chicago Rodeo (1920), S&E Enterprises’ dent, nonprofit organization created by the U.S. Congress presentation of Tex Austin’s 1920 rodeo competition in Chicago. This is one of to help save America’s film heritage. Working with archives more than 50 American nitrate films and others who appreciate film, the NFPF supports activi- being preserved through the NFPF’s ties that save films for future generations, improve film partnership with EYE Filmmuseum in access for education and exhibition, and increase public Amsterdam. Thanks to a grant from the National Endowment for the commitment to preserving film as a cultural resource, art Humanities, Chicago Rodeo will form, and historical record. Established in 1996, the NFPF be made available online with is the charitable affiliate of the National Film Preservation new music and program notes. Board of the Library of Congress. NATIONAL FILM PRESERVATION FOUNDATION Saving America’s Film Legacy In creating the National Film Preservation Foundation, the U.S. Congress put film pres- 2014 Grant Recipients ervation on the national agenda. The 1996 legislation laid out an innovative framework Alaska Moving Image Preservation Association through which cultural institutions of all American Museum of Natural sizes could play their part in rescuing films History important to our history. Now, 19 years later, Anthology Film Archives the results speak for themselves—2,166 films Bard College saved and made available by 273 American Carnegie Museum of Art organizations assisted through the NFPF Escape to Montana’s Glacier Park (ca. 1970), preserved Emory University programs. Audiences across all 50 states, by the Montana Historical Society. Film-Makers’ Cooperative the District of Columbia, and Puerto Rico George Eastman House see preserved films in the classroom, through Hoover Institution, Stanford exhibitions, and via DVD and the Internet. through the Library to preserve American University Given the scope of what this legislation films here and abroad and to serve as an Indiana University has made possible, it is worth remember- incentive for donors. Congress has since Keene State College ing how this public access revolution increased the NFPF’s authorization twice, Maryland Historical Society came about. in 2005 and in 2008. Medical University In 1993, the Librarian of Congress Thanks to this far-sighted legislative of South Carolina alerted Congress that motion pictures were action, organizations across the nation are National Archives and Records disintegrating faster than archives could save preserving their films. As digital access Administration them. The works most at risk were not pop- becomes easier, having preserved films at National WWII Museum ular commercial blockbusters but culturally the ready for online presentation broadens Nebraska State Historical Society significant documentaries, silent-era works, access for research, teaching, screening, and New York Public Library home movies, avant-garde films, newsreels, aiding those curious about history. New York University industrials, and independent productions The 65 films slated for preservation Newark Public Library that were hidden away in nonprofit and pub- through our 2014 grants reveal that the con- NOAA National Severe Storms Laboratory lic organizations across the country. While gressional vision of inclusion and expansion these films didn’t fill the local cinemas, they North Carolina State Archives continues to succeed: Among those selected showed a much more personal and connected North Scituate Public Library are The Jungle (1967), a vivid portrayal of America, a land of communities and families Oregon Historical Society Philadelphia street life made by teen gang working hard to shape the world into a better Pacific Film Archive members and named to the National Film place. These overlooked movies, made by Senator John Heinz History Center Registry in 2009; ornithological studies of people throughout the country, stand as a Silent Cinema Presentations New York’s Jamaica Bay Wildlife Refuge; I’ll living record of the American spirit. Tulane University, Amistad Say He Forgot (1920), a long-lost two-reel Research Center The problem was that film preservation comedy about an absent-minded bridegroom; UCLA Film & Television Archive seemed out of reach except to the largest six films from the Youth Film Distribution University of Akron archives, those with the money and know- Company, an organization that provided University of Arizona how to save their historical resources. So hands-on filmmaking experience to New University of California, Berkeley Congress asked the Library and its National York teens; footage taken by the NOAA University of South Carolina Film Preservation Board to figure out a more National Severe Storms Laboratory that University of Southern California inclusive approach. From their work grew improved prediction of storm patterns; Washington University in St. Louis a new public-private collaboration, the anthropologist Leopold Pospisil’s 1950s Wisconsin Center for Film National Film Preservation Foundation. documentary about a Papuan tribe in West and Theater Research Charged with advancing the “preservation New Guinea; the Goodyear Tire & Rubber Wisconsin Historical Society and accessibility of the nation’s film heritage,” Company’s documentation of the construc- Yale University the NFPF received federal matching funds tion of the USS Akron, one of the largest 2 2014 REPORT airships of its time; early color footage of Although federal dollars fuel the Yellowstone National Park; and home movies NFPF grants, we sustain operations through of Pittsburgh’s African American community other sources. Dedicated contributors— in the 1940s, Maryland’s Ocean City Hur- the Academy of Motion Picture Arts and Expanding Access ricane of 1933, the Hoopa Valley Indian Sciences, the Cecil B. De Mille Foundation, Reservation in California, and New Orleans the Marmor Foundation, the James and Mardi Gras carnival balls. Theodore Pedas Family Foundation, the NFPF grants went to 37 archives, Weissman Family Foundation, Combined historical societies, libraries, and museums Federal Campaign donors, and many more— of different sizes, geographic locations, and fund our daily work. A special thanks goes to specializations. Most awards were modest— The Film Foundation, which has supported between $3,000 and $10,000; all were us since the very beginning. More than a U.S. Navy of 1915, repatriated from matched by staff time and other costs con- decade ago, it also founded with the NFPF Australia in 2008, has become the tributed by recipients. When projects wrap the Avant-Garde Masters grant program, most-watched film on the NFPF web- up, institutions store the new preservation through which works by 58 film artists have site, garnering more than 250,000 masters under cool-and-dry archival condi- been saved and returned to the big screen. views. As digital access has become the norm, the NFPF has increased the tions and provide viewing copies for study Congress laid the foundation for the web availability of films preserved and exhibition.
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