Mark Sandrich Papers

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http://oac.cdlib.org/findaid/ark:/13030/c8gb25j9 No online items Mark Sandrich papers Special Collections Margaret Herrick Library© 2013 Mark Sandrich papers 336 1 Descriptive Summary Title: Mark Sandrich papers Date (inclusive): 1924-1994 Date (bulk): 1926-1945 Collection number: 336 Creator: Sandrich, Mark Extent: 7.8 linear feet of papers. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Mark Sandrich papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Cathy Sandrich, 1999-2013; Jay Sandrich, 2003 Biography Mark Sandrich was an American director active from the 1920s to mid-1940s. A short film he directed, SO THIS IS HARRIS (1933), received an Academy Award. Sandrich also directed several Fred Astaire-Ginger Rogers musicals. Collection Scope and Content Summary The Mark Sandrich papers span the years 1924-1994 (bulk 1926-1945) and encompass 7.8 linear feet. The collection contains a variety of film-related production material, scripts, and clippings. There is some script material for television and some miscellaneous story material by Sandrich and others. There are Paramount and RKO studio memos, government-issued production material from World War II, and extensive correspondence with Irving Berlin. A scrapbook containing clippings, correspondence, and programs within its several hundred pages was dismantled. The resulting files contain primarily press clippings from West and East Coast industry trade papers and newspapers documenting Sandrich's professional career. Arrangement Arranged in the following series: 1. Production files, subseries A-B as follows: A. Produced; B. Unproduced; 2. Television files; 3. Story files; 4. Subject files; 5. Oversize; 6. Photographs, subseries A-C as follows: A. Biography; B. Subject; C. Production Indexing Terms Sandrich, Mark , 1900-1945--Archives. directors Mark Sandrich papers 336 2.

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A Volatile Ventriloquy With a Vicious Dummy: Sid and Nancy and the War Between Image and Soundtrack MONICA FOSTER Monica Foster is passionate about Classical Hollywood and exploitation cinema, psychoanalysis, the 20th century, and David Lynch’s voice. During her time with the Cinema Studies program, she has written about Daisies, Gothic paperbacks and Mario Bava, as well as the history of the Rialto Theatre in Times Square. 51 5 When Judy Vermorel interviewed notorious Sex Pistols bassist Sid Vicious in 1977, she asked him what types of films he enjoyed. His response was one of snobbery and complete negation, a stab at the cultural status and esteem that film holds as a medium. Vicious called film a fantasy, a pretense, a pack of lies, and criticized its tendency to glamorize circumstance (Slycheetah). What remains uncertain, however, is if these are Vicious’ own opinions or one of the collective punk milieu that he was a part of. The incorporation of fantasy and the glamorization of life is integral to the spectacular and dazzling musicals of Hollywood’s Golden Age. Those musicals were devoured by audiences because the story worlds provided an escapist fantasy from the economically depressed one they inhabited. The Golden Age musicals of the 1930s revelled in excess and spectacle, as did catalogue musicals including Mark Sandrich’s Shall We Dance (1937) and George Stevens’ A Damsel in Distress (1937), which celebrated songwriters, in this case, George and Ira Gershwin (Cohan 12). These films were colourful, pleasant, and happy-go-lucky, striving to make their audiences leave the theatre with optimism and hope for the future (12).
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No. 67 THE MUSEUM OF MODERN ART For Release t1 WEST 53 STREET, NEW YORK 19. N. Y. Sunday rtUPHONI: CltCLI 5-8900 August 9» 1959 NEW MUSEUM FILM SERIES OPENS WITH SPIES • 1 •«! 1 • ^mm^mmmm wmm\n\m,\ — .»^WM——11111 mi.— 1 — •,*iwwii ••mmmmmmm•*—!•» —'.'Br^'iu!" IUSWJ Spies, directed by Rritz Lang, will be shown at the Museum of Modern Art, 11 West 53 Street, August 9-15* daily at 3 and 5:30, The 1928 silent German production is the first of six films in a new Museum series, NEW ACQUISITIONS; THE CIRCULATION PROGRAM. The series will continue, August 16-22, with A Cottage on Dartmoor (England, 1929); directed by Anthony Asquith, with Norah Baring and Uno Henning; August 23-29, Shall we Dance (1937)> directed by Mark Sandrich, music by George and Ira Gershwin, with Fred Astaire and Ginger Rogers; August 30-Sept. 5* Crossfire (19^7)* directed by Edward Dmytryk, with Robert Young and Robert Mitchum; Sept. 6- 12 > The Set-Up (19^9)> directed by Robert Wise, with Robert Ryan, Audrey Totter and George Tobias; and, Sept. 13-20, The Great Adventure (Sweden, 195*0> written, di rected, produced and photographed by Arne Sucksdorff, with Arne Sucksdorff, Anders Norborg and Kjell Sucksdorff. All films will have two daily showings, at 3 and 5:30. According to Miss Margareta Akermark, Circulation Director of the Film Library, the Circulation Program was started in 1937 "to make films important to the develop ment of this contemporary art form available to educational institutiona throughout the united States. The Program is designed to help fill the needs of serious film student8 unable to attend the regular public screenings in the Museum auditorium.
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