What Happens on a Typical Day in the Ultimate Movie Library
Imagine the entire history of film housed in a building anybody can visit.
That’s the Academy’s Margaret Herrick Library.
First established in 1928 in rooms at the Roosevelt Hotel in Hollywood, the library now resides in a legendary building that was once the Beverly Hills Water Treatment Plant.
Inside is an unprecedented collection that documents the inspiring and powerful history of movies and is available to researchers, students and movie fans.
It would be impossible to detail the millions of remarkable items found within our library, but to give you a sense of the scope of our collection, we’d like to share a small sampling of what we do there on a typical day.
We Manage, Collect, Catalog and Provide Access to Amazing Pieces of Film History
The heart of our library is our Core Collection Reference Files, which include more than 250,000 files filled with article clippings and promotional materials from the earliest years of cinema through the latest releases.
Some of these materials are acquired through generous donations and on a typical day the items that come into the library can be staggering.
For example, this press book for the original King Kong (1933), which was recently restored by our conservation staff.
Another recent addition was this 1962 want-ad featuring Bette Davis seeking work as an actress.
As well as Marion Davies’ chest x-ray from 1950.
In a recent acquisition, the Technical Services department was lucky enough to add a very rare exhibition book to the collection. Produced in 1930–1931, the book promotes the annual releases of Metro-Goldwyn-Mayer.
This illustrated annual features a variety of stars and upcoming productions, including Ramon Novarro in a production entitled Song of India, which was released in August of 1931 as Son of India.
The film Madam Satan, released in 1930, is featured in a gorgeous two-page illustration of a masquerade ball. This production was directed by Cecil B. DeMille with extravagant costumes designed by Adrian, and starred Kay Johnson and Reginald Denny. It is a daring foray into the realms of sexual allure and infidelity.
Production materials such as these document film studio release schedules and upcoming productions during the 1920s, ’30s and ’40s. They contain lush illustrations and early photographic works that greatly contribute to the study of early American film.
While processing an item for the Special Collections department — as part of a grant from the National Historical Publications and Records Commission — for the publication Cinefantastique, an interesting pair of letters were found.
Among the films featured in this horror/fantasy/science fiction magazine was David Lynch’s cult classic Blue Velvet, in which a severed ear sets the film’s plot into motion. In December 1985, makeup artist Dean C. Jones sent a prosthetic ear he crafted for the film to Cinefantastique publisher and editor Frederick S. Clarke, with the instructions “Please keep the ear in it’s [sic] storage bag and at room temperature when not in use.”
Jones invited Clarke to keep the appendage as a holiday gift; the envelope even bears the playful greeting “Merry Christmas and Happy New Ear.” Nine months later, Clarke wrote, “I’ve got your ‘ear’ hanging over my desk. Let me know if you want it back.”
That request remained unanswered, for Jones had moved on, leaving no forwarding address, and the letter was returned to sender.
Alas, the ear is not in the collection and its location is unknown.
We Prepare Unique Exhibitions
As part of the Academy’s outreach initiative, the library annually presents an exhibition drawn from its holdings in the lobby and reading room. The Reference and Public Services department participates in selecting the materials for display and is currently at work on the layout for a future exhibition featuring more than 100 photographs of movie theaters from across the United States.
We Start the Oscars Competition
The Credits staff is managing the Academy Awards submission process for feature films in the general entry categories. They are responsible for confirming eligibility and compiling accurate credit information for use in the nominations process.
They also manage data entry and editing in the Academy’s in-house credits database, which now encompasses feature films released in Los Angeles from 1952 through 2014.
We Make 12 Million Images Accessible
The photograph department manages a collection of more than 12 million images, including prints, negatives, transparencies and glass slides.
They are presently at work cataloging one of their most recent acquisitions, the Stanley Bielecki photographs. This collection contains more than 60,000 photo elements from some of the most influential films of the 1970s and ’80s. Highlights include Tommy (1975), Star Wars (1977), Legend (1985), Blade Runner (1982), Alien (1979) and Aliens (1986).
We Have One of The Best Collections of Movie Posters and Production Art on the Planet
One of our favorite activities is the department’s monthly review of collections that have been processed and cataloged. This month’s review of posters included Blood Orgy of the She-Devils (1973), a recent Mondo print for Back to the Future (1985), a French grande for Million Dollar Mermaid (1952), Face/Off (1997) and a fantastic example of Ernesto Garcia Cabral’s outrageous illustration for Chucho el Remendado (1952).
Recent production art highlights include storyboards for The War of the Worlds (1953), charcoal production design drawings highlighting special effects in The Rains Came (1939) and The Blue Bird (1940) and the prop blueprint for the extruded plastic dingus (aka the fictional hula hoop) for The Hudsucker Proxy (1994).
We Preserve Movie History
Most recently we have been focusing on the treatment and custom rehousing of animation artworks that are often multimedia objects consisting of a painted background with a separate layer of plastic that has been illustrated with opaque watercolor.
These objects are inherently at risk because of their construction and use, but that is also why they are so beautiful and unique. A case in point is the one seen here from Gay Purr-ee (1962). This background drawing was made by adding multiple layers of coated paper, paint and varnish to create the final piece. The paper layers are delaminating, which means they are separating from the primary support.
It is important to treat this issue now because over time, the paper layers will continue to separate, fragments could become torn, creased or completely separated.
To stabilize the piece, we set down the areas of delamination with wheat starch paste. Areas were dried flat and then the drawing was rehoused in a custom sink-mat composed of 100% cotton rag board that is alkaline-buffered, which will aid in the object’s long-term preservation.
The Margaret Herrick Library is open to the public four days a week. Click here for information on how you can visit it.
