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THE FOLGER FILM ARCHIVE who wish to make appointments at other institutions for study of films the Library has

In 1975, to recognize the importance of the not yet obtained. Downloaded from https://academic.oup.com/sq/article/29/1/127/5099766 by guest on 29 September 2021 motion picture as an artistic medium and to Researchers who work at the Folger view provide scholarly access to the growing num­ films on a Steenbeck 16 mm. flatbed console ber of cinematic interpretations of Shake­ editor. There are two viewing modes: the speare's plays, the Folger Shakespeare Li­ standard 8-inch console screen and the 24- brary established an archive of Shakespeare inch wall screen. By means of a variable on film. Aided by a grant from the Rocke­ speed control, a researcher may study each feller Foundation, the Folger created a facil­ film image at his own pace. For works pro­ 3 ity for the collection and viewing of films and duced on /4-inch U-Matic video-cassettes, a tapes and undertook a vigorous acquisitions JVC video-cassette player and a 19-inch program. As a consequence, the Library now color monitor are available for use. This sys­ houses copies of most of the major feature- tem has pause and frame advance controls to length sound film versions of Shakespeare's allow for close study of the video image. For plays, plus a good representation of silent sound films and tapes, researchers are films, videotapes, short films, and films of equipped with lightweight headphones. excerpts from the plays. Appointments for studying films at the One of the main purposes of the Folger Folger are available Monday through Fri­ program is to broaden the scope of Shake­ day. Because of legal restrictions placed by spearean film study. Research and teaching copyright holders, the films and tapes may be have long concentrated on the dozen or so studied only at the Folger. They may not be most popular films (e.g., those of Olivier, rented, loaned, copied in any form, or used Zeffirelli, Reinhardt, Welles, and Brook), for broadcast. largely neglecting more than 100 other sound For further information, interested read­ films and nearly 300 silent films of Shake­ ers should write or call the Film Archivist, speare's works. The Folger has therefore en­ Mr. Joseph Empsucha, at the Folger Shake­ deavored to acquire not only all the major speare Library, 201 East Capitol Street, SE, films but also as many as possible of the Washington, D.C. 20003; his telephone num­ other films that merit consideration. Among ber is 202-546-6909. these are most of Hollywood's adaptations of Shakespeare, including Universal's Tower FEATURE-LENGTH SOUND VERSIONS OF THE PLAYS: The Taming oj the Shrew (Taylor [Pick- of London and MGM's Kiss Me Kate. ford/Fairbanks], 1929); A Midsummer Night's In addition to developing and maintaining Dream (Reinhardt/Dieterle, 1935); As You a film collection, the Library has also begun Like It (Czinner, 1936); (Cu- providing several related services. For ex­ kor, 1936); (Olivier, 1944); ample, the Folger now operates a clearing­ (Olivier, 1948); (Welles, 1948); Julius house to provide up-to-date information Caesar (Bradley, 1950); Macbeth (Stenholm, about Shakespeare on film: what has been 1951); (Welles, 1951); made; what is available for rental, lease, or (Mankiewicz, 1953); Othello (Youtkevich, purchase, and at what cost; what agencies 1955); (Fried, 1955); Macbeth and firms supply Shakespearean films for (Schaefer [Evans], 1960); Hamlet (Colleran [Burton], 1964) [VCR]*; Hamlet (Wirth classroom use. Meanwhile, the Library is en­ [Schell], 1964); Romeo and Juliet (Freda, 1964); gaged in a two-year program to publish a The Merry Wives of Windsor (Tressler, 1965); complete film resource inventory of Shake­ Romeo and Juliet (Drumm/Lee, 1965); Othello speare on sound film. And the Folger is now (Burge [Olivier], 1966); The Taming of the in a position to assist qualified researchers Shrew (Zeffirelli, 1966); A Midsummer Night's 128

Dream (Hall, 1968); Hamlet (Richardson, SILVER JUBILEE 1969); Julius Caesar (Burge, 1970); EDUCATIONAL FUND (Brook, 1970); King Lear (Kozintsev, 1971); Macbeth (Polanski, 1971); Macbeth (Gorrie To commemorate the Silver Jubilee of Her [Porter], 1976) [VCR]; Romeo and Juliet (Bos- ner, 1977) [VCR]. Majesty Queen Elizabeth II, the Trustees of Shakespeare's Birthplace have decided to

FEATURE-LENGTH SOUND ADAPTATIONS: Tower create a Jubilee Educational Fund. The fund of London [Richard HI], 1939; The Boys From will assist students and scholars from over­

Syracuse [], 1940; A seas by providing materials needed for their Downloaded from https://academic.oup.com/sq/article/29/1/127/5099766 by guest on 29 September 2021 Double Life [Othello], 1947; Kiss Me Kate [Thestud y and, in approved cases, by contribut­ Taming of the Shrew], 1953; Broken Lance [Kingin g toward their expenses as they undertake Lear], 1954; Prince of Players [Richard HI], research centered on the Trust's library, 1954; Joe Macbeth [Macbeth], 1955; Forbiddenrecords , and museum collections. For fur­ Planet [], 1955; Jubal [Othello], ther information, write the Director, Shake­ 1956; Throne of Blood [Macbeth], 1957; Opheliaspear e Centre, Stratford-upon-Avon, Eng­ [Hamlet], 1962; Romanoff and Juliet [Romeo land. and Juliet], 1960; [1 and 2 Henry IV], 1965; [Othello], 1973. 1978 OHIO SHAKESPEARE CONFERENCE SILENT FILM VERSIONS AND ADAPTATIONS: Oth­ ello (Pathe, 1908); Romeo and Juliet (Vitagraph, The University of Dayton will present a 1908); Macbeth (Cines, 1909); A Midsummer Night's Dream (Vitagraph, 1909); The Mer­ conference 10-11 March 1978 on the topic chant of (Film d'Arte Italiana, 1910); "Shakespeare in Performance: Focus on Brutus (Cines, 1910); Romeo Turns Bandit Macbeth." The films of Roman Polanski, (Pathe, 1910); Twelfth Night (Vitagraph, 1910); Orson Wells, and Akira Kurosawa will be Richard III (Cooperative, 1911); Romeo and Ju­ featured, and speakers will include Robert liet (Film d'Arte Italiana, 1911); Romeo and Ornstein (Case Western Reserve University) Juliet (Thanhouser, 1911); A Village King Lear and Jack J. Jorgens (American University). (Gaumont, 1911); (Vitagraph, Previously unpublished papers dealing with 1912); Cardinal Wolsey (Vitagraph, 1912); An­ recent Macbeth research, specific aspects of tony and Cleopatra (Cines, 1913); Hamlet (Gau- any of the three conference films, or other mont/Hepworth: Plumb [Forbes-Robertson], 1913); (Eclipse, 1913); aspects of Shakespeare on film are wel­ Midsummer Night's Dream (?[Tomasi/Hub- come. Suggestions and inquiries should be ner], 1913); The Winter's Tale (Milano, 1913); addressed to R. Alan Kimbrough,- Depart­ Julius Caesar (Cines, 1914); King Lear ment of English, University of Dayton, (Thanhouser, 1916); The Merchant of Venice Dayton, Ohio 45469. (Broadwest, 1916); Hamlet (Art-Film: Gade/ Schall [Nielsen], 1920); Othello (Worner: Buk- hovetsky [Jannings], 1922); The Jew of Mestri 1978 TERRE HAUTE (Felner-Film, 1923); (British & Colonial, 1923). The Cunningham Memorial Library of In­ SHORTS, NON-SHAKESPEAREAN, AND EDUCA­ State University announces the 1978 TIONAL FILMS: Enter Hamlet; Famous Scenes Terre Haute Shakespeare Festival, 10-14 From Shakespeare: Julius Caesar III. ii; FamousApri l 1978. The week's activities will include Scenes From Shakespeare: Macbeth II. ii; Poundan art fair, dramatic presentations, musical of Flesh; This Is Charles Laughton: A Readingperformances , papers, panel discussions, From Twelfth Night II. iv; ;movies , and displays. Professor Humphrey Peter Brook: The Tempest; Student Audience: Tonkin, University of Pennsylvania, will be American Shakespeare Festival; The Folger Li­the featured speaker. For further informa­ brary; From Every Shires End; An Introduction to Paleography; The Making of a Renaissance tion, write Bernard J. Vondersmith, Depart­ Book; Revolution; Volpone. ment of English and Journalism, Indiana State University, Terre Haute, Indiana * [VCR] indicates video-cassette recording. 47809.

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