Charles G. Clarke collection

Catalogued by Slide, Anthony
Margaret Herrick Library. Academy of Motion Picture Arts and Sciences.
333 S La Cienega Blvd
Beverly Hills, CA 90211
Published January 2023


Descriptive Summary

Abstract: The collection includes both items collected by Clarke and material relating to his career, including scripts, production material, correspondence, writings, and an American Film Institute oral history transcript. Scrapbooks compiled by Clarke contain correspondence addressed to William Selig or the Selig Polyscope Company.
Collector: Clarke, Charles G.
Dates: 1879-1983
Collection number: 47
Collection Size: 2 linear ft. of papers
Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences.
Languages: Languages represented in the collection: 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

Charles G. Clarke collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences.

Acquisition Information

Gift of Charles G. Clarke, 1977

Collection Scope and Content Summary

The Charles G. Clarke collection spans the years 1879-1983 and encompasses 2 linear feet, consisting of production files, subject files and scrapbooks. The collection includes both items collected by Clarke and items relating to his career. The production files contain material for five films with cinematography by Clarke, with voluminous material on THE RAINS OF RANCHIPUR (1955), on which he was second unit director, and a dozen scripts from the television series ARNIE, which he photographed. Other important documentation includes correspondence between Clarke and various collectors and preservers of film and film history, including two letters from actor Andre Beranger regarding his collection of 28mm films. There are writings by Clarke, Howard Walls, and Albert E. Smith, as well as a transcript of Clarke's American Film Institute oral history. The subject files include a Fox Film Corporation folder with daily cast reports for their 1919 films. Stereo photographs taken by Clarke on location in the 1920s contain rare images of James Wong Howe behind the camera for EBB TIDE (1922) and Clarke on location in Alaska for ROCKING MOON (1926), among others. Two scrapbooks compiled by Clarke contain correspondence addressed to William Selig or the Selig Polyscope Company.
Clarke was not only a major Hollywood cinematographer, but also a collector of materials relating to film industry history. The library has benefited from his donations through this collection, the Motion Picture Patents Company/General Film Company collection, the William Selig papers and many books, pamphlets, and periodicals among the library's general holdings.

Biography

Charles Galloway Clarke (1899-1983) was born in Potter Valley, California. He entered the film industry as an assistant cameraman at Universal in 1915. Following active service during World War I, he was made first cameraman at the National Film Company, where he photographed the serial SON OF TARZAN. His work as a prominent first cameraman and director of photography began in 1922 with THE HALF BREED. Other films in the 1920s and 1930s include FOUR SONS (1928), WORDS AND MUSIC (1929), TARZAN THE APE MAN (1932), VIVA VILLA! (1934), and THE CASINO MURDER CASE (1935). Clarke joined 20th Century-Fox in 1938 and remained under contract there until his retirement in 1962. Among his Fox features are MARGIE (1946), MIRACLE ON 34TH STREET (1947), THE SNOWS OF KILIMANJARO (1952), CAROUSEL (1956), and RETURN TO PETYON PLACE (1961). His writings include "Early Film Making in Los Angeles" (1976). Clarke served on the Academy Board of Governors from October 1945-May 1951 (assistant treasurer, 1948-1949), from June 1960-May 1962, and from July 1970-May 1975. Clarke received Academy Award nominations for cinematography for four Fox films: MOONTIDE (1942), HELLO FRISCO HELLO (1943), GREEN GRASS OF WYOMING (1948), and SAND (1949). In addition, he was presented with a Scientific or Technical Achievement citation (1943) and an Honorary medal of commendation (1979) from the Academy.

Arrangement of the Collection

1. Production files; 2. Television files; 3. Subject files, subseries A-C as follows: A. General; B. Biography; C. Additions; 4. Oversize; 5. Scrapbooks

Indexing terms

Clarke, Charles G.
Cinematographers
Collectors


 

Manuscripts

 

Production files

folder 1

THE BIG LIFT--correspondence 1949--1949

Record ID: 71301304

Scope and Content Note

correspondence from Office of Military Government for Germany (U.S.) and United States Air Force in Germany, 1949
folder 2

THE CORONATION PARADE (Movietone short, 1953) [U.K.]--miscellaneous 1953--1953

Record ID: 71331509

Scope and Content Note

passes issued to Charles Clarke as newsreel cameraman for British Movietone News covering the coronation of Queen Elizabeth II; miscellaneous brochures
folder 2a

HOUND-DOG MAN--script 1959--1959

Record ID: 71303528

Scope and Content Note

final shooting screenplay by Winston Miller and Fred Gipson, July 9, 1959, with changes through August 14, 1959, approximately 111 pages [script supervisor Stanley K. Scheuer's copy, heavily annotated]; small photographs taken during filming pasted onto the pages; staff and cast list
folder 3

NIGHT PEOPLE--call sheet 1953--1953

Record ID: 71331510

Scope and Content Note

one call sheet, September 17, 1953
folder 4

PRINCE VALIANT--production 1953--1953

Record ID: 71331511

Scope and Content Note

location movement order, May 20, 1953, 2 pages; article, “CinemaScope Filming in Britain," by Charles G. Clarke, 5 pages
folder 5

THE RAINS OF RANCHIPUR--script 1955--1955

Record ID: 71331512

Scope and Content Note

screenplay by Merle Miller, February 24, 1955, 132 pages [lightly annotated]
folder 6

THE RAINS OF RANCHIPUR--call sheets 1955--1955

Record ID: 71331513

Scope and Content Note

call sheets, May 31, 1955, to June 19, 1955
folder 7

THE RAINS OF RANCHIPUR--production 1955--1955

Record ID: 71331514

Scope and Content Note

list of second unit work, Pakistan, May 9, 1955, 10 pages; list of scenes to be filmed each day, May 12, 1955, 5 pages; list of second unit work, May 14, 1955, 5 pages; crew list, overseas and local
folder 8

THE RAINS OF RANCHIPUR--production design drawings 1955--1955

Record ID: 71331515

Scope and Content Note

photostats of scene drawings, storyboards, and set drawings; one research photograph
 

Production files

 

Television files

folder 9

ARNIE [television]--"The Gift of the Majors" 1971--1971

Record ID: 71331516

Scope and Content Note

final script by Art Baer and Ben Joelson, with revisions by Duke Vincent and Bruce Johnson, episode “The Gift of the Majors," November 17, 1971, 40 pages; shooting schedule, 4 pages
folder 10

ARNIE [television]--"The Only Way to Go" 1971--1971

Record ID: 71331518

Scope and Content Note

final script by Hal Goldman and Al Gordon, with revisions by Duke Vincent and Bruce Johnson, episode “The Only Way to Go," November 22, 1971, 37 pages
folder 11

ARNIE [television]--“Guess Who’s Coming to Our House” 1971--1971

Record ID: 71331519

Scope and Content Note

final script by Jack Elinson and Norman Paul, with revisions by Duke Vincent and Bruce Johnson, episode “Guess Who’s Coming to Our House," December 2, 1971, 34 pages
folder 12

ARNIE [television]--“What’s Up Doc?” 1971--1971

Record ID: 71331520

Scope and Content Note

final script by Hal Goldman and Al Gordon, with revisions by Duke Vincent and Bruce Johnson, episode “What’s Up Doc?," December 7, 1971, 40 pages; shooting schedule, 3 pages
folder 13

ARNIE [television]--"The Truth, the Whole Truth and Nothing But the Truth" 1971--1971

Record ID: 71331521

Scope and Content Note

final script by Norman Paul and Jack Elinson, with revisions by Duke Vincent and Bruce Johnson, episode "The Truth, the Whole Truth and Nothing But the Truth," December 14, 1971, 36 pages
folder 14

ARNIE [television]--"The Truth, the Whole Truth and Nothing But the Truth" 1971--1971

Record ID: 71331522

Scope and Content Note

revised final script by Norman Paul and Jack Elinson, with revisions by Duke Vincent and Bruce Johnson, episode "The Truth, the Whole Truth and Nothing But the Truth," December 17, 1971, 37 pages; shooting schedule, 3 pages
folder 15

ARNIE [television]--"Room at the Top" 1971--1971

Record ID: 71331523

Scope and Content Note

final script by Jim Fritzell and Everett Greenbaum, with revisions by Duke Vincent and Bruce Johnson, episode "Room at the Top," December 23, 1971, 39 pages
folder 16

ARNIE [television]--"Room at the Top" 1971--1971

Record ID: 71331524

Scope and Content Note

revised final script by Jim Fritzell and Everett Greenbaum, with revisions by Duke Vincent and Bruce Johnson, episode "Room at the Top," December 27, 1971, 39 pages
folder 17

ARNIE [television]--"Surprize, Surprize" 1971--1971

Record ID: 71331525

Scope and Content Note

final script by Hal Goldman and Al Gordon, with revisions by Duke Vincent and Bruce Johnson, episode "Surprize, Surprize," December 29, 1971, 41 pages
folder 18

ARNIE [television]--"Uncle Nikko" 1972--1972

Record ID: 71331526

Scope and Content Note

final script by Art Baer and Ben Joelson, with revisions by Duke Vincent and Bruce Johnson, episode "Uncle Nikko," January 6, 1972, 44 pages
folder 19

ARNIE [television]--"Wilson Tastes Good - Like a Candidate Should" 1972--1972

Record ID: 71331527

Scope and Content Note

final script by Al Gordon and Hal Goldman, with revisions by Duke Vincent and Bruce Johnson, episode "Wilson Tastes Good - Like a Candidate Should," January 10, 1972, 42 pages; shooting schedule, 4 pages
folder 20

ARNIE [television]--"Now You Take Teddy Roosevelt" 1972--1972

Record ID: 71331528

Scope and Content Note

final script by Jim Fritzell and Everett Greenbaum, with revisions by Duke Vincent and Bruce Johnson, episode "Now You Take Teddy Roosevelt," January 18, 1972, 39 pages; shooting schedule, 3 pages
folder 21

ARNIE [television]--"Star Trekking" 1972--1972

Record ID: 71331529

Scope and Content Note

final script by Elroy Schwartz, with revisions by Duke Vincent and Bruce Johnson, episode "Star Trekking," January 21, 1972, 40 pages; shooting schedule, 3 pages
 

Subject files

folder 22

Clarke, Charles--articles 1960--1960

Record ID: 71331530

Scope and Content Note

"Do You Want to Be a Hollywood Cameraman?" 7 pages; "Hollywood’s Silent Partners," 7 pages [lightly annotated version of "Do You Want to Be a Hollywood Cameraman?"]; "Hollywood's Silent Partners," 8 pages [revision]; "Hollywood's Silent Partners," 6 pages [edited; with a cover letter from "Arthur," August 1, 1960]; "A Short Bibliography of the Movies," 7 pages [with handwritten notes attached]; "Another Inventor of the Motion Picture?" 4 pages [draft; concerning Dickson]; two miscellaneous pages
folder 23

Clarke, Charles--contracts 1933--1944

Record ID: 71331532

Scope and Content Note

contract between Charles G. Clarke and Metro-Goldwyn-Mayer Corporation, May 13, 1933; contract between Charles G. Clarke and Twentieth Century-Fox Film Corporation, February 25, 1944
folder 24

Clarke, Charles--correspondence 1939--1975

Record ID: 71331533

Scope and Content Note

Lyon & Lyon to Clarke discussing patents for "faking in clouds" in a scene, September 13, 1940; letter from Joe Blair, "Hollywood Review," regarding Fox West Coast Theatres expansion, the demise of the independent single theater, and the prevalence of double billing, November 17, 1940; two letters from Andre Beranger regarding his collection of Pathescope 28mm films, with 3-page typed inventory, November 21, 1942, and November 26, 1942; three letters from Ward Harris, June 12, 1944, September 1, 1949, and August 7, 1950; letter from Permanent Charities Committee of the Motion Picture Industry (Walter F. Wanger), May 11, 1945; three letters from Irving Browning, October 3, 1945, October 23, 1945, and November 20, 1945; four letters from W. L. Jamison, Museum of Modern Art film library, October 23, 1945, November 5, 1945, November 26, 1945, and November 29, 1945; four letters from G. W. Dunston regarding his collection of obsolete motion picture projectors, January 1, 1946, March 11, 1946, April 25, 1946, and May 18, 1950; letter from "Newsreel" Wong, February 12, 1946; mimeograph letter from American Federation of Labor regarding jurisdictional disputes concerning the erection of sets on studio stages, August 1946; letter from the editors of "Hollywood Quarterly," December 23, 1946, with attached mimeographed memo from Sylvia Jarrico headed "Who Are the Subscribers?" November 1946; T. K. Peters regarding his exhibition of cameras and early cinema devices and his work in film, April 3, 1951; letter from the British Society of Cinematographers Ltd. (Bert Easey), May 6, 1953; letter from J. J. Little & Ives Co., Inc., to Ray Rennahan regarding updating the cinematography essays in "Oxford Junior Encyclopedia," December 2, 1957; letter from Arthur L. Smith, audiovisual department, Colonial Williamsburg, December 11, 1969; solicitation letter from Gene M. Gressley, University of Wyoming, May 22, 1970; letter from Arthur Kingston, April 28, 1971; postcard from Frank Zuniga to his mentor, August 20, 1972; letter from Al Sherman to Ray Rennahan regarding his book on Billy Bitzer, July 12, 1975
folder 25

Clarke, Charles--miscellaneous 1940--1983

Record ID: 71331534

Scope and Content Note

20th Century-Fox Film Corporation studio card, 1940; Honorary Life Time Citizenship from the City of Lancaster, June 17, 1947; American Society of Cinematographers membership card, 1970-1971; International Photographs Local 659 membership card, 1971; miscellaneous biographical data, including a set of typed 3x5 cards outlining Clarke's career; memorial service card for Clarke and his wife, July 8, 1983
folder 26

Clarke, Charles--oral history 1971--1971

Record ID: 71331535

Scope and Content Note

an oral history interview with Charles G. Clarke by Thomas R. Stempel, Darryl F. Zanuck Research Project, American Film Institute, Louis B. Mayer Foundation, interview conducted May 5, 1971, 98-page transcript and index
folder 27

Edison, Thomas 1894--1931

Record ID: 71331536

Scope and Content Note

miscellaneous magazine articles clipped and pasted on scrapbook pages, all relating to Thomas Edison; photo engraving of Edison; 1897 handbill for Edison's Projectoscope
folder 28

Selig, William--interview

Record ID: 71331537

Scope and Content Note

transcript of an interview of Selig by Charles Clarke, 5 pages [carbon copy]
folder 29

Smith, Albert E. 1951--1951

Record ID: 71331538

Scope and Content Note

manuscript, "Flatbush and Vine," January 1951, 291 pages
folder 30

Smith, Albert E.--Manuscript

Record ID: 71331539

Scope and Content Note

manuscript, "Two Reels and a Crank," by Albert E. Smith, 369 pages
folder 31

Walls, Howard

Record ID: 71331540

Scope and Content Note

three papers titled "Hollywood Heritage" by Howard Walls
folder 32

Academy of Motion Picture Arts and Sciences 1947--1973

Record ID: 71331541

Scope and Content Note

miscellaneous correspondence; Charles Clarke's membership card, 1969; tickets for the 45th Annual Academy Awards and Governors Ball, March 27, 1973
folder 33

American Society of Cinematographers 1941--1960

Record ID: 71331543

Scope and Content Note

letter from Fred Jackman, October 27, 1941, with carbon copy of Jackman's letter to Fred Pelton, MPAA, regarding the ASC dispute with IATSE (Local 659) and producers over first cameramen; additional correspondence regarding the issue, 1941, and a full-page clipping, "The Case of the Cameramen," from "The Hollywood Reporter," August 6, 1942; mimeographed letter from Charles Clarke calling his first meeting as president of the ASC, May 4, 1948; typed notes regarding Clarke's involvement with the ASC from December 1, 1924, when he was first proposed for membership, through 1959, 1 page; three congratulatory telegrams and one letter regarding a tribute to Clarke and copy of wording on plaque, 1960
folder 33a

Correspondence 1906--1908

Record ID: 71441598

Scope and Content Note

(1) Eberhard Schneider, German-American Cinematograph and Film Co., to Selig Polyscope Company, March 7, 1906; (2) William T. Rock, Vitagraph Company, to Selig Polyscope Co. ordering prints of Selig films, March 19, 1906; (3) Pittsburg Calcium Light Company to William Selig asking for a catalogue of films and saying "We are turning customers down every day simply because we cannot get enough film," May 18, 1906; (4) W. H. Clune to Selig Polyscope Co., August 13, 1906; (5) Lyman H. Howe to Selig Polyscope Co., February 18, 1907; (6) Eugene Cline to Selig Polyscope Co., March 16, 1907; (7) William Fox, The Greater New York Film Rental Company, to Selig Polyscope Co., April 15, 1907; (8) Gus Sun, Central Film Renting Co., to Selig Polyscope Co., June 18, 1907; (9) Wm. F. Steiner, The Imperial Amusement and Moving Picture Company, to Selig Polyscope Co., July 3, 1907; (10) Fred Beck, The Electrograph Moving Picture Machine and Film Exchange, to Selig Polyscope Co., August 19, 1907; (11) J. R. Freuler to Selig Polyscope Co., September 6, 1907; (12) Fred C. Dawes, Los Angeles Stereopticon and Film Exchange, to William Selig offering to sell his new sprocket, September 9, 1907; (13) J. A. Schuchert and P. A. Powers, Powers Machine and Film Exchange, Buffalo, to Selig Polyscope Co. announcing that Powers has severed his connection with company, October 12, 1907; (14) P. Magaro, Keystone Film and Supply Company, to Union Motion Picture Company, December 26, 1907; (15) William H. Swanson to Denver Film Exchange, January 2, 1908; (16) Mary Hosmer Boggs to William Selig, January 20, 1908; (17) Alpha Vaudeville Circuit, Bert Levey, to Selig Polyscope Co. wanting to market Selig films in San Francisco, January 25, 1908; (18) S. Morton Cohn to Selig Polyscope Co. regarding "the singing and talking moving pictures device," April 1, 1908; (19) J. Frank Pickering to Selig Polyscope Co., May 12, 1908
folder 33b

Correspondence 1908--1909

Record ID: 71441602

Scope and Content Note

(1) W. J. Watkins, Film Service Association of New York, to Selig Polyscope Company regarding reel of DAMON AND PYTHIAS (Selig Polyscope, 1908), which was "too long to make it profitable to certain members." June 29, 1908; (2) F. C. Aiken, Amusement Supply Company, to Selig Polyscope Co. forwarding an inquiry about making a special film on the Sweet Pea Carnival Co. in Bozeman, Mont., June 30, 1908; (3) A. I. La Rosa, Metropolitan Theatre Company, to Selig Polyscope Co., July 19, 1908; (4) E. R. Hodges, American Telegraphone Company, to Selig Polyscope Co. (with carbon reply, July 29, 1908), regarding new "wire type of (recording) machine." July 21, 1908; (5) Frank Cloud (Franklin's Quaker Medicines) to Selig Polyscope Co., October 14, 1908; (6) J. D. Williams, Northwestern Automatic Machine Co., to Selig Polyscope Co., October 19, 1908; (7) F. T. Montgomery, Theatre Majestic (Memphis, Tennessee) to Selig Polyscope Co., October 20, 1908; (8) Marcus Loew, People's Vaudeville Company, to Selig Polyscope Co., November 12, 1908; (9) Tom Moore (not the actor), Imperial Film Exchange, to Selig Polyscope Co., November 17, 1908; (10) Lewis Hetz to Selig Polyscope Co., December 15, 1908; (11) Carl Laemmle, The Laemmle Film Service, to William Selig regarding proposed new office in El Paso, December 15, 1908; (12) E. G. Roberts, The Picture Theatre, Los Angeles, to Selig Polyscope Co., December 28, 1908; (13) The Luther Day Service Company to Selig Polyscope Co. saying he would have to discontinue taking films "as I feel that I am not in shape to continue the pace that is required by the new Patent Co.," January 18, 1909; (14) W. E. Kreiter, Kosmik Films Service, to Selig Polyscope Co., June 26, 1909; (15) Tally's Film Exchange to Selig Polyscope Co. "...We would prefer that you release the extra reel you are contemplating putting on the market on Monday...," July 29, 1909; (16) W. W. Hodkinson, Progressive Motion Picture Company, to Selig Polyscope Co., August 10, 1909; (17) Francis Boggs to William Selig discussing the films he is shooting in Oregon, that he will send Jim Crosby to Yellowstone to shoot educational subjects and that the little studio in Los Angeles is in good shape, August 16, 1909,
folder 33c

Correspondence 1909--1910

Record ID: 71441606

Scope and Content Note

(1) Kleine Optical Company to Selig Polyscope Company regarding extra posters received, September 24, 1909; (2) Robert Lieber, The H. Lieber Company, to William Selig, October 21, 1909; (3) Lubin Film Service Company to Selig Polyscope Co., November 12, 1909; (4) Dore Davidson to Selig announcing he is preparing three stories, November 20, 1909; (5) Theatre Film Service Co. (San Francisco) to Selig Polyscope Co., November 25, 1909; (6) H. E. Aitken, Western Film Exchange, to Selig Polyscope Company, December 15, 1909; (7) Mrs. Fred Walton to Selig, undated [ca. 1909]; (8) Beulah Poynter to Selig Polyscope Co. regarding scenario for "Lena Rivers" and her "posing" for proposed film version, April 14, 1910; (9) O. T. Crawford Film Exchange, Arthur S. Kane, to Selig regarding supplying of "Roosevelt Pictures" to independent exhibitor and subsequent problems with Patents Company, May 14, 1910; (10) Herbert Rawlinson to Francis Boggs "...I think I am the man you want. I am 26 yrs old, height 6' 1". Could build to 6' 3" if necessary. I am very athletic and in splendid training especially for Indians, stripped or otherwise. On the other hand I'm strong for character comedy...My pantomime is good which is the most essential thing...", August 2, 1910; (11) Etablissements Gaumont (Paris) to Selig Polyscope Co. asking about printing films intended for Europe, September 8, 1910; (12) telegram from Robert Z. Leonard to Francis Boggs saying he had already signed for the season but could do "make overs" on October 3 when he arrived in Los Angeles, September 19, 1910; (13) Tom Mix to Selig Polyscope Co. describing the delay in hiring Indians for the Jacksonville company because "Mulhall dug up some old trouble between 101 Ranch and myself and I had to return to Newkirk to answer a charge of attempting to embezzle a horse," November 1, 1910; (14) Hobart Bosworth to Selig regarding his lecture before the Friday Morning Club and censorship of one of his Indian films [probably THE CURSE OF THE RED MAN], November 8, 1910; (15) Melbourne MacDowell to Selig Polyscope Co. regarding re-creation of his dramatic roles on film, November 19, 1910; (16) E.B. Johnson, Turner and Dahnken, Inc., to Selig Polyscope Co., November 28, 1910; (17) May Buckley to Selig saying she would come to Chicago to see him since she would hate to lose the chance to appear in "The First Born," undated [ca. 1910]
folder 33d

Correspondence 1911--1912

Record ID: 71441607

Scope and Content Note

(1) H.H. Buckwalter, Denver Film Exchange, to William Selig regarding a screening of TWO LUCKY JIMS in a licensed house in Santa Fe and the troubles the American Film Company is experiencing, February 1, 1911; (2) Harry Pollard to Selig asking for a letter of recommendation to the Biograph Co., March 2, 1911; (3) Pathé Frères (Paris) to Selig Polyscope Company, April 14, 1911; (4) Itala-Film to Selig Polyscope Co., April 27, 1911; (5) J. D. Williams (The Greater J. D. Williams Amusement Co. Ltd.) to Selig Polyscope Co. in which he describes his expansion and says that if U.S. exhibitors would "advertise very extensively in the newspapers" as they do in Australia, then the prejudice against moving pictures would vanish, May 8, 1911; (6) Lottie Williams to Selig asking if there is any work before she goes on tour, June 17, 1911; (7) Edwin (?) to Mr. Selig, July 5, 1911; (8) Mabel Taliaferro cable to Selig saying "...shall be ready to work whenever you want me...", August 30, 1911; (9) Mabel Normand cable to Selig saying "...will make no arrangement with other firm until I see you...", undated [glued to Mabel Taliaferro telegram]; (10) General Film Company (Columbus, Ohio) to Selig Polyscope Co. regarding destruction of a print of CAPTAIN KATE, September 19, 1911; (11) Myrtle Stedman to Selig regarding her singing for prisoners and how movie mad Canon City has become, undated [ca. October 1911]; (12) S. L. Rothapfel to Selig saying he would be playing CINDERELLA and would like advertising material and was going to increase his orchestra to twenty pieces, December 9, 1911 [letterhead features photograph of Rothapfel]; (13) Edward McWade to Selig, February 9, 1912; (14) A. M. Cristoffanini (Spain) to Selig Polyscope Co., February 16, 1912; (15) Grace Cunard to Selig Polyscope Co. recapping her career and asking for an engagement, March 8, 1912; (16) Thomas A. Edison to K. W. Grove regarding "education of children by means of motion pictures." April 23, 1912; (17) Henry McRae to Selig, July 25, 1912; (18) Dan Crimmins to Selig Polyscope Co. stating terms for he and Rosa Gore to quit vaudeville and work in films, September 10, 1912
folder 33e

Correspondence 1912--1914

Record ID: 71441608

Scope and Content Note

(1) Tom Carrigan to "Stanley" [Twist?] saying how much he liked MONTE CRISTO and that it made him want to get back into pictures, undated [ca. November 1912]; (2) Edgar Lewis to William Selig seeking work as a director and saying he had just finished a four-reel "all Indian" HIAWATHA, December 31, 1912; (3) William A. Duncan to Selig enclosing a revised copy of "A Cowpunchers Dream" and saying his dog would be able to do the business, undated [ca. 1912-1913]; (4) May Robson to Selig writing "...I would like very much to become a member of your company—I have played many parts—and probably you would find me valuable...," March 12, 1913; (5) Maud Skinner to Selig thanking him for the roses and saying her husband was recovering, May 11, 1913; (6) Leah Baird to Selig Polyscope Company asking if there is an opening in the company and saying she is leaving Vitagraph of her own accord, May 19, 1913; (7) Clifford Bruce to Selig saying he would be free to negotiate after the season closed in July, June 30, 1913; (8) Daniel Sydney Ayres to Selig regarding discussions with Jack London concerning film rights to his novels and the attempt by H.M. Horkheimer to get a new contract with London, July 9, 1913; (9) J. W. Ashley (The Webb Talking Pictures Co.) to Selig Polyscope Co. asking for work as a director, August 9, 1913; (10) Eline(?) Dolores Cassinelli to Selig introducing herself, describing her career at Essanay and asking for work, October 17, 1913; (11) Fred C. Jenkins (Hamburg, Germany) to Selig Polyscope Co. regarding demonstration of natural color system, October 29, 1913; (12) May Allison to Selig recalling talk they had and asking if there might be a vacancy, November 6, 1913; (13) Eugenie Besserer to Selig Polyscope Co. saying "[a]m glad you find sketch, ‘Sally' suitable for photoplay...," December 3, 1913; (14) Will Farnum to Selig saying he would like to talk after his season ended in January, December 31, 1913; (15) Joseph E. Howard to Selig asking if a film could be shot for the play "A Limb Of The Tree" which was going to open in Milwaukee, January 17, 1914; (16) Kathlyn Williams to Selig apologizing for having granted permission for a postal card firm to use her photograph and asking about future work following THE ADVENTURES OF KATHLYN, circa January-February 1914
folder 33f

Correspondence 1914--1915

Record ID: 71441610

Scope and Content Note

(1) Violet Mersereau to William Selig saying she did not receive a contract from him in Kansas City and has now received another offer, March 16, 1914; (2) Thomas Lipton to J. Stuart Blackton regarding his boat races in the U.S., March 21, 1914; (3) Lester H. Cuneo to Selig regarding "rumor that I was about to leave this company ... I don't drink and haven't for a long time ...," March 26, [1914]; (4) George Beban to Selig regarding rights to Rex Beach's The Barrier, circa March-April 1914 [reply typed on back of second page, April 16, 1914]; (5) Allan Dwan cable to Selig saying he was open for engagement, April 12, 1913; (6) Frank Powell to Selig stating that his salary is $250 a week, April 21, 1914; (7) "Illustrirte Zeitung" (Berlin, German) to Selig Polyscope Company saying "The German Government intends to move a bill on the Cinema-Trades in the course of next autumn" and they will be publishing a supplement which should "urge even upon the most inveterate enemy of the cinema the feeling that the cinematograph is a cultural fact, the importance of which cannot be denied," May 6, 1914; (8) J. F. Madan (Calcutta, India) to Selig Polyscope Co. noting "there are several scenes which are against Parsi Religion" in THE ADVENTURES OF KATHLYN so he is cancelling his order as the police may not allow the film to show, May 21, 1914; (9) Otis Skinner to Selig regarding film work, July 6, 1914; (10) Herbert Brenon cable to Selig writing "My present engagement of three years duration with Imp brand of Universal Film Company terminates September first...," July 28, 1914; (11) Harry Leighton to Selig regarding rights to sketches and plays of George V. Hobart, November 2, 1914; (12) Myles McCarthy to Selig, December 4, 1914; (13) Adda Gleason to Selig "...how sorry I was to leave the Selig Company...," December 29, 1914; (14) Emmett Corrigan to J. F. Pribyl suggesting terms for a film based on the play "The Parish Priest," January 26, 1915; (15) Sheldon Lewis to Selig stating he will be playing Chicago and is available for film work, March 4, 1915; (16) Werba and Luescher to Selig Polyscope Co. offering to help exploit any special features, March 9, 1915 [letterhead features "Tour of the World's Motion Picture Tableaux Masterwork, CABIRIA (Italy, 1914)]; (17) Lawrence Marston to Selig resigning from company because of poor quality of the story THE MILLIONAIRE BABY (V-L-S-E, 1915), March 17, 1915
folder 33g

Correspondence 1915--1915

Record ID: 71441611

Scope and Content Note

(1) Hobart Henley to William Selig saying he would accept $125 per week with the promise to produce as well as act and that "Much dissatisfaction exists in the Universal organization, if you are interested I can put you in touch with quite a few prominent and capable players...," April 5, 1915; (2) Tyrone Power Sr. to Selig "...I am so anxious to do some really great work, - I know that I could do it if I have the opportunity...," April 14, 1915; (3) Violet Romer to Selig asking for work, April 27, 1915; (4) Pathé Frères (London) to Selig Polyscope Company, April 27, 1915; (5) Nance O'Neil to J. A. Berst saying "...When I read that you had acquired the motion picture rights to The Garden of Allah I was most anxious to get in touch with you about the part of Dominie.," ca. May 1915; (6) Gaumont (London) to Selig Polyscope Co. concerning buying the rights for the British Isles to MA'S GIRLS, May 12, 1915; (7) Charles Bryant to Selig "...I told you I would advise you if my wife, Madame Nazimova, contemplated posing in Pictures.... Mrs. Marion Craig Wentworth, the author of War Brides is just completing a Film Version of the play, and it is in this that Madame is prepared to pose." May 17, 1915; (8) Henry Kolker to Selig Polyscope Co. asking for work, May 30, 1915; (9) Gene Gauntier to Selig recapping her career and asking for an engagement with one of his companies on behalf of herself and her husband, Jack J. Clarke as they "have just terminated an unhappy engagement with the Universal Company, and are desirous of getting back to an organization that shows appreciation for conscientious, artistic work." June 28, 1915; (10) Claude Gillingwater to Selig "...I am anxious to get started in the photo play field with some recognized firm; first as an actor, and later develop as a director, producer and writer...," July 23, 1915; (11) Wheeler Oakman to Selig saying he had not yet been paid for his work on A TRAGEDY IN PANAMA, August 13, 1915; (12) William V. Mong to Selig regarding story ideas and saying Tom Mix would like to have Mong with him, September 23, 1915; (13) Stanley Theatre (New York) to Selig Polyscope Co., September 24, 1915; (14) Frank Mills to Selig asking for work, October 18, 1915; (15) Otis Harlan to Mr. Berst thanking him at finish of Harlan's contract, October 24, 1915
folder 33h

Correspondence 1915--1916

Record ID: 71441612

Scope and Content Note

(1) Edith Johnson to William Wright thanking him for the advertising, November 18, 1915; (2) Lillian Brown Leighton to William Selig, November 28, 1915; (3) T. Hayes Hunter to Selig Polyscope Company regarding availability of Harry Vokes, December 27, 1915; (4) Hardee Kirkland to Selig "...I am more sorry than I can say that my engagement terminated this morning in a quarrel with Mr. Persons...," circa 1915; (5) Cyril Maude to Selig asking for work, ca. 1915; (6) Edward Poland and Hardee Kirkland to Miss [Mabel Heikes] Justice introducing Robert Fisher, circa 1915 ["Oct. 21st" handwritten in corner]; (7) Burton King to Selig, circa 1915-1916; (8) Helen Ware to Selig "...I do hope I can do THE GARDEN OF ALLAH (State Rights, 1916) with you this summer...," circa 1916; (9) Gertrude Bambrick (Mrs. Marshal Neilan) to Selig thanking him for letter of introduction to George Kleine, January 4, 1916; (10) Sydney Booth to Selig Polyscope Co. asking if there is any work this season, January 8, 1916; (11) Carlyle Blackwell to Selig "...I'm wondering if you would care to have my name on your pay roll...," February 10, 1916; (12) Grace Darmond cable to Selig "...I did not realize just how wrong you would think my conduct. I am very sorry. Won't you please forgive me just this once and I promise to be a good obedient little girl from now on. Stepdaddy isn't working and they need my help badly so please let me stay...," February 11, 1916; (13) Irving Cummings to Selig asking for work, February 13, 1916; (14) Billy B. Van to Selig regarding film work, March 2, 1916; (15) Lionel Atwell to Selig Polyscope Co. regarding forwarding of mail, March 9, 1916; (16) William Duncan to Selig Polyscope Co. regarding box of wardrobe, April 7, 1916; (17) Sam Drane to Selig Polyscope Co. regarding playing of Abraham Lincoln in THE CRISIS (Selig Polyscope, 1916), April 18, 1916 and April 23, 1916
folder 33i

Correspondence 1916--1917

Record ID: 71441644

Scope and Content Note

(1) Blanche Sweet to "a certain highway robber I know" regarding cigars and a ten spot , May 11, 1916; (2) Ray Long (The Red Book Magazine) to William Selig, May 13, 1916; (3) Pedro de Cordoba to Selig, May 23, 1916; (4) Sol Lesser, All Star Features Distributors, to Selig saying he is now ready to handle THE CRISIS, May 31, 1916; (5) William Faversham to Selig regarding suitable dates "for our first picture." June 20, 1916; (6) Rollin S. Sturgeon to Selig concerning his work and why he left Vitagraph, his view that "all the old line companies are ... going to entirely pass out of existence ... (m)ore than this, I firmly believe that the day of the fixed program will pass ..." and suggesting that Selig only produce a limited number of outstanding films with directors who can ensure quality, September 29, 1916, 11-pages; (7) Robert T. Haines to Selig asking for work, October 10, 1916; (8) Harry Carey cable to Selig "My contract with Fox Company has terminated. Is there anything open with your company...," October 15, 1916; (9) Maude Fealy to Selig "...Are your plans such that you will consider using my services in pictures...," October 23, 1916; (10) Frank Campeau to Selig regarding a scenario, November 17, 1916; (11) John Barrymore to Selig regarding film version of Monsieur Beaucaire, "...I think it would make a delightful picture, and it is precisely the type of thing I would like to do under your auspices...," November 24, [1916?]; (12) Leo Ditrichstein to Selig regarding film based on The Last Supper, December 7, 1916; (13) Grace Darmond to William Lord Wright complaining that he is withholding publicity on her, December 14, 1916; (14) Eleanor Woodruff to Mr. [H.C.] Hoagland saying she will be sending some stills, ca. 1916; (15) D. W. Griffith to Selig regarding "campaign against the various state censorship bills now pending in about twenty different commonwealths.," February 11, 1917; (16) Lewis J. Cody to James McGee asking for work, April 18, 1917; (17) George Fawcett to Selig asking that he be allowed to treat serious stories "in a semi-comedy or satirical way." as Fairbanks is doing, April 19, 1917; (18) Marshall Neilan to Selig explaining "why you have not heard from me regarding the stories I was to send you." April 26, 1917
folder 33j

Correspondence 1917--1920

Record ID: 71331566

Scope and Content Note

(1) Henry B. Walthall to William Selig, May 14, 1917; (2) Walter Whiteside to "Mr. Wheeler," August 29, 1917; (3) National Films, Ltd (Dublin, Ireland), to Selig Polyscope Company regarding THE GARDEN OF ALLAH and why it was necessary to change three of the title cards, January 15, 1918; (4) Hazel Dawn to Selig saying she was in Union Hill N.J. and saw THE WOMAN THE GERMANS SHOT being produced and wants to know if they should not film her scenario THE RED CROSS GIRL and beat the other company, September 26, 1918; (5) Colleen Moore to Selig asking that he refrain from listening to tales saying she does not want to work for him, and that she wants to finish the James Whitcomb Riley series, October 23, 1918; (6) Edwin Carewe to Selig returning books and scenario that he considers unsuitable for Harold Lockwood, September 4, 1918; (7) Al Green to Selig saying he was about finished working on THE UNPARDONABLE SIN and wondering if there might be any work coming up, October 25, 1918; (8) William Jennings Bryan to J. Stuart Blackton regarding financing of proposed motion picture, July 7, 1919; (9) Société des Films "Eclipse" to Selig Polyscope Co., September 2, 1919; (10) Leon Errol to Selig, undated; (11) Otis Turner to Selig, undated; (12) Gilson Willets to Selig "...W. N. Selig is a General of Industry who binds with friendly bands of steel those who work for him...," December 26, 19??; (13) Note from [illegible signature (Hayes?)], undated; (14) Anna Q. Nilsson to Selig Polyscope Co. asking amount she received for working in AUCTION OF SOULS (First National, 1919), circa January 1920; (15) William Fox to Sol M. Wurtzel regarding THE GIRL OF MY HEART (Fox, 1920), JOAN OF RAINBOW SPRINGS, and BEWARE OF THE BRIDE and saying Le Saint may be at the end of his rope and that "the enthusiasm of youth is the necessary thing in the making of future pictures," October 2, 1920; (16) Fox cable to Wurtzel discussing film based on "Clung" which would deal with intermarriage between the races, October 13, 1920 [released as SHAME (1921)]; (17) Wurtzel cable to Fox responding to October 13 cable, October 14, 1920
folder 33k

Correspondence 1921--1951

Record ID: 71331565

Scope and Content Note

(1) Jack G. Leo, Fox Film Corporation, to Sol M. Wurtzel regarding Charles Giblyn, March 22, 1921; (2) Jack Leo, Fox Film Corp., to Wurtzel enclosing copy of lengthy letter to Tom Mix concerning TRAILIN' (Fox, 1921), March 31, 1921; (3) Harry Warner, Warner Bros., to J. Stuart Blackton regarding "payments by us of installments of the purchase price of the stock of the Vitagraph Company," July 28, 1927; (4) Albert E. Smith to Ruby B. Miller, regarding payments due from Warner Bros., August 3, 1928; (5) Paul Terry autograph to Charles G. Clarke, undated; (6) J. Stuart Blackton's identification card from the State Relief Administration of California , June 1, 1940; (7) W.N. Selig to Clarke asking to get together, December 22, 1941; (8) purchase order for "Edison's Invention Of The Kineto-Phonograph" by Antonia and W.K.L. Dickson, December 18, 1942; (9) Albert E. Smith to Clarke, February 2, 1944; (10) Edgar J. Mannix to Clarke, March 4, 1944; (11) Billy Bitzer to Fred Jackman thanking him for the watch and help from ASC and saying how happy he is at the Motion Picture Country House, April 4, 1944; (12) Charles Boyer form letter to G. Clarke inviting him to screening of documentary THE LIBERATION [THE LIBERATION OF PARIS (France, 1944)] to be introduced by Pierre Blanchar, December 4, 1944; (13) George K. Spoor to Clarke regarding mutoscope film of Patents Group honoring Edison, June 15, 1945; (14) Thomas Armat to Clarke regarding Mutoscope film of Patents Group members honoring Thomas Edison, December 5, 1945; (15) Hal Roach to Clarke, December 30, 1949; (16) Darryl F. Zanuck to Clarke, February 9, 1951; (17) William S. Hart to J. Stuart Blackton regarding film clip he is sending Blackton, June 22, [year unknown]; (18) advertising flier, THE ROYAL UNIVERSAL BIOSCOPE (Madras, India), undated
folder 34

Fox Film Corp.--daily cast reports 1919--1919

Record ID: 71331544

Scope and Content Note

CHASING RAINBOWS [working title: SADIE]—2; COWARDICE COURT—3; THE LOVE THAT DARES [working title: THE LOVE THAT DARED]—1; MARRIED IN HASTE [working title: UP AGAINST IT; lists pay for studio musicians]—1; PITFALLS OF A BIG CITY [working title: FIFTY-FIFTY]—1; THE SNEAK [working title: GYPSY]—2; WHEN FATE DECIDES [working title: THE HIGH FLAME]—1; THE WILDERNESS TRAIL [filmed in Flagstaff, Arizona]—1; WORDS AND MUSIC BY—2; Blystone #1 (Stanley Blystone, director; Powers, cameraman; cast included Charles Arling, Cavender, Cooper, Burns, Slim Summerville)—1; Blystone #2 (Stanley Blystone, director; Powers, cameraman; cast included Tom Kennedy, Cooper, Cavender)—2; Del #1 (Roy Del Ruth, director; Ernest Depew and Brown, cameramen; cast included D. Morris, P. McGuire, F. Coleman, Ethel Teare)—2; Edwards #33 (J. Gordon Edwards, director; John W. Boyle, cameraman; cast included William Farnum, G. Raymond Nye, Cluny, Johnston, Fremont, Louise Lovely, Genevieve Blinn, Ward) [probably WINGS OF THE MORNING]—1; Fishback #1 (Fred Fishback, director; Park Ries, cameraman; cast included Harry Gribbon, B. Dunn, Reardon, Hackett, Ward)—2; Griffin #1 (Frank Griffin, director; Ernest Depew, cameraman; cast included Ethel Teare, Slim Summerville, La Varnie, Harry Booker; also listed C. Watson]; Heerman #1 (Victor Herrman, director; Park Ries, cameraman; cast included Harry Gribbon, B. Dunn, H. McCoy, D. Morris, Frank Coleman, Miss Carpenter)—2
folder 35

Fox Film Corp. 1920--1930

Record ID: 71331545

Scope and Content Note

letter to Sol Wurtzel regarding the final title for PARTNERS OF FATE, October 11, 1920; letter from William Fox with his opinion on THE SKY'S THE LIMIT featuring Tom Mix and having [Stanley] Blystone complete the direction for SKIRTS, October 12, 1920; first page of a memo outlining the successful elements (in the opinion of Mr. Fox) in Tom Mix pictures, including stunts, dumb animals, wild animals, music, and women characters, December 7, 1920; fan letter from the Philippine Islands, July 16, 1930
folder 36

George Eastman House 1949--1949

Record ID: 71331546

Scope and Content Note

material relating to the opening ceremonies for the George Eastman House, including a typescript of Charles Clarke's speech; typescript of program
folder 37

George Kleine 1914--1921

Record ID: 71331547

Scope and Content Note

"George Kleine Attractions" flier, circa 1914; "Conquest Films" catalog listing more than sixty films made by Thomas A. Edison, Inc., with cast, length, and synopses, copyright 1921, 58 pages; "Cycle of Film Classics" catalog, undated; "Magnetism and Electro-Magnets" flier, undated; Kleine lenses flier, undated
folder 38

Hollywood Museum 1960--1961

Record ID: 71331548

Scope and Content Note

letter from Sol Lesser asking Clarke to join the acquisitions committee, June 6, 1960; two covers from book of tickets for the first annual convention of the Hollywood Museum Associates, Disneyland Hotel, September 1961
folder 39

Miscellaneous 1885--1970

Record ID: 71331549

Scope and Content Note

letter from W. B. Roberts, January 17, 1885 (typed copy); "The New York World," centerpage showing Theodore Roosevelt on film, September 10, 1899 [mounted on linen]; "Photoplay" contest entry with a fan's suggested gag for Harold Lloyd's next picture, October 15, 1932; one unidentified production drawing [photostat], January 7, 1937; article on photographic advancements in 1948; "The Motion Picture—Torch of Freedom," by California Senator Sheridan Downey in the "Congressional Record," 1949; promotional brochure for "The Movies" by Richard Griffith and Arthur Mayer, circa 1957; "The History of Motion Pictures" flier for exhibition of materials from the Douglas Wright Collection, circa 1970s; mimeographed listing of films for sale from Schiller Film Exchange, Chicago, undated; brochure, "Harnessing the Sun: The Story of the Bell Solar Battery"; brochure, "Wherever You Go There's Radio"; list of "Milestone" films; complainant's work on Kinetoscope experiment (microfilm copy); "Early Researches in Animated Photography as Described by Professor E. J. Marey" with miscellaneous unsourced photocopies on chronophotography on moving plates and Muybridge; copies of an "American Cinematographe" program and directions for operating the Vitak motion picture machine; one unidentified production photograph, "a set from the electrician's point of view," circa 1929; one unidentified snapshot; indices of correspondence in [dismantled] scrapbooks
folder 40

Photographs 1920--1926

Record ID: 71331550

Scope and Content Note

photographs for EBB TIDE (Paramount, 1922), James Wong Howe [23b]; Catalina Island harbor [23a]; EBB TIDE, with George Fawcett, George Melford, James Kirkwood [26a]; Catalina [26b]; EBB TIDE, with Bert Glennon, James Wong Howe, James Kirkwood, James Fawcett [25a]; off-camera [25b]; THE HALF BREED (AFN, 1922), with Charles Taylor in Sunland, California [12b]; Charles Clarke's room [12a]; ROCKING MOON (PDC, 1926), with George Melford and Lilyan Tashman; Charles G. Clarke on location in Alaska; SALOMY JANE (Paramount, 1923), with Jacqueline Logan and Louise Dresser; "Lefty" Flynn; George Melford and Louise Dresser [possibly BURNING SANDS (Paramount, 1922)] [19a]; off-camera showing the photographing of a glass shot [19b]; Lasky Studio, Hollywood; Lasky Studio, 1922; Lasky Ranch set [13a]; Louis B. Mayer Studio, East Los Angeles [13b]; National Film Studio, building a set, 1919 [2a]; editing room [2b]; Numa, the lion [10b]; William "Daddy" Paley, National Film Studio, shown shooting the titles for a silent film, circa 1920 [10a]; Unidentified [both sides Lasky Studio?]; Unidentified, with Cy Clegg (Silas Clegg?) and Nita Naldi; Unidentified [probably BURNING SANDS], with Mervyn LeRoy and Jacqueline Logan [18b]; James Wong Howe? hand-cranking the camera [18a]; Unidentified set; projector [both labeled 1a]; Unidentified, off-camera [4a]; posed off-camera [4b]; Unidentified, on ship deck [both sides]
folder 41

Photographs 1928--1931

Record ID: 71331551

Scope and Content Note

photographs for MASQUERADE (Fox, 1929)—2; MEN ON CALL (Fox, 1931) with off-camera sun diffusers—2; RILEY THE COP (Fox, 1928)—1; SO THIS IS LONDON (Fox, 1930) with Will Rogers, Irene Rich, and Lumsden Hare—3; Clarke, Charles—1; Clarke, Charles, with Paul Lockwood and Don Anderson, Laguna, California, April 1929—1; Clarke, Charles, with John Blystone, Paul Lockwood and Don Anderson—2; Unidentified—2
folder 42

Postcards Circa 1922--1922

Record ID: 71404451

Scope and Content Note

"Shooting" a Chinatown balcony scene with Constance Talmadge, at the United Studios, Hollywood; Douglas Fairbanks supervising a "Set" at Pickford-Fairbanks Studios, Hollywood; The "stars" bungalow dressing-rooms at the William Fox Studios, Hollywood; Working on a Rupert Hughes' production, the author directing. Goldwyn Studios, Culver City; An early California street scene built within doors; sky "drop" painted in. Christie Film Studios, Hollywood; "Faking" a snow scene in tropical California, with Ben Turpin at the Mack Sennett Studios, Edendale; Charlie and the wood nymphs. Charlie Chaplin Studios, Hollywood; "Dr." Harold Lloyd and his patient, "Micky" Daniels. Hal Roach Studios, Culver City; Universal City, world's film capital, devoted exclusively to motion pictures; Norma Talmadge "making-up," her director assisting. United Studios, Hollywood; Charles Ray on "location" in consultation with his staff. Charles Ray Productions, Hollywood; Building a "set" within a "set" at Metro Studios, Hollywood; Producing a London fog scene, in a Jackie Coogan feature play, Hollywood; Rudolph Valentino, Gloria Swanson, and Elinor Glyn awaiting "camera," Paramount Studios, Hollywood; Mary on "location," speaking by radio with studio thirty miles away. Pickford-Fairbanks Studios, Hollywood; A little "at-home" with Clara Kimball Young, at the Garson Studios, Edendale; How they treat 'em in Hollywood. Buster Keaton in one of his comedies; "Resting between shots" in a story of the North. Fine Arts Studios, Hollywood
folder 43

Research Council Motion Picture Camera School 1942--1942

Record ID: 71331553

Scope and Content Note

syllabus (including one for instructor Private Robert E. Wise), instructor's lecture notes, and revised schedule, 1942
folder 44

20th Century-Fox 1939--1958

Record ID: 71331554

Scope and Content Note

letter from Darryl F. Zanuck regarding Greek War Relief Association, February 1, 1941; letter from Ray Klune, May 24, 1943; studio memo recognizing Clarke's invention of composite pictures, February 23, 1944; congratulatory letter from Harry Brand, March 3, 1944; letter from Joseph Schenck on behalf of the Los Angeles Welfare Fund, June 1, 1946; letter from Preston Sturges, February 4, 1948, with an invoice for sale of books by Clarke to Sturges, February 2, 1948; memo from Ray Klune, November 23, 1949; letter from Spyros R. Skouras regarding a CinemaScope demonstration, April 21, 1953; two letters from Sid Rogell, June 8, 1953, and January 23, 1958; congratulatory telegram from Samuel Fuller, July 22, 1953; unit list for short subject, PAMPLONA FIESTAS DE SAN FERMIN
folder 45

George Elkins Company--expenses 1973--1973

Record ID: 72028144

Scope and Content Note

statements of direct expenses and loan operations, June through December 1973
folder 46

George Elkins Company--expenses 1974--1974

Record ID: 72028145

Scope and Content Note

statements of direct expenses and loan operations, January through May 1974
folder 47

Notebooks (no. 1 and no. 2) 1942--1944

Record ID: 72028146

Scope and Content Note

two notebooks with lists of negatives and prints
folder 42a

Postcards Circa 1922--1922

Record ID: 71331552

Scope and Content Note

album of color postcards, "Making the Movies," captioned as follows [accordion-style foldout printed on both sides, the outer envelope reads, Thomas H. Ince Studios, Culver City; Realistic Street Scene of Irish Village, Vitagraph Studios, Hollywood]:; "Shooting" a Chinatown balcony scene with Constance Talmadge, at the United Studios, Hollywood; Douglas Fairbanks supervising a "Set" at Pickford-Fairbanks Studios, Hollywood; The "stars" bungalow dressing-rooms at the William Fox Studios, Hollywood; Working on a Rupert Hughes' production, the author directing. Goldwyn Studios, Culver City; An early California street scene built within doors; sky "drop" painted in. Christie Film Studios, Hollywood; "Faking" a snow scene in tropical California, with Ben Turpin at the Mack Sennett Studios, Edendale; Charlie and the wood nymphs. Charlie Chaplin Studios, Hollywood;; "Dr." Harold Lloyd and his patient, "Micky" Daniels. Hal Roach Studios, Culver City; Universal City, world's film capital, devoted exclusively to motion pictures; Norma Talmadge "making-up," her director assisting. United Studios, Hollywood; Charles Ray on "location" in consultation with his staff. Charles Ray Productions, Hollywood; Building a "set" within a "set" at Metro Studios, Hollywood; Producing a London fog scene, in a Jackie Coogan feature play, Hollywood; Rudolph Valentino, Gloria Swanson, and Elinor Glyn awaiting "camera," Paramount Studios, Hollywood; Mary on "location," speaking by radio with studio thirty miles away. Pickford-Fairbanks Studios, Hollywood; A little "at-home" with Clara Kimball Young, at the Garson Studios, Edendale; How they treat 'em in Hollywood. Buster Keaton in one of his comedies; "Resting between shots" in a story of the North. Fine Arts Studios, Hollywood
folder 48

Notebooks (no. 3 and no. 4) 1944--1945

Record ID: 72028147

Scope and Content Note

two notebooks with lists of negatives and prints
folder 49

Notebooks (no. 5 and no. 6) 1946--1949

Record ID: 72028148

Scope and Content Note

two notebooks with lists of negatives and prints
folder 50

Notebooks (no. 7 and no. 8) 1947--1949

Record ID: 72028149

Scope and Content Note

two notebooks with lists of negatives and prints
folder 51

Notebooks (no. 9 and no. 10) 1950--1950

Record ID: 72028150

Scope and Content Note

two notebooks with lists of negatives and prints
folder 52

Notebooks (no. 11 and no. 12) 1950--1956

Record ID: 72028151

Scope and Content Note

two notebooks with lists of negatives and prints
folder 53

Notebooks (no. 13) 1957--1958

Record ID: 72028152

Scope and Content Note

one notebook with lists of negatives and prints
 

Oversize

 

Essanay News 1914--1914

Record ID: 71331555

Scope and Content Note

"Essanay News," volume 4, number 9, July 15, 1914
 

Implet 1912--1912

Record ID: 71331557

Scope and Content Note

"Implet," volume 1, number 9, March 16, 1912; "Implet," volume 1, number 20, June 1, 1912
 

Kleine--broadsheets 1914--1914

Record ID: 71331558

Scope and Content Note

10½x17½ broadsheets with synopses for the following 1914 Kleine-Cines, Kleine-Celio, Kleine-Eclipse, and Kleine-Ambrosio releases (some bear 1913 copyrights): AFTER DEATH; THE ARTIST'S MODEL; THE BARBER OF SEVILLE; THE BONDAGE OF EVIL; THE BROKEN CHAIN; THE DIAMOND-MAKER; THE FORBIDDEN TRAIL; THE GREATEST GIFT; GYPSY LOVE; THE HEART OF A GIPSY [sic]; THE HEIRLOOM; HER FALSE FRIEND; THE MARRIAGE OF FIGARO; THE MASTER FORCE; THE MONEY SHARKS; MYSTERY OF THE FAST MAIL; ONE WOMAN'S WAY; THE PRICE OF SILENCE; THE SECRET VAULT; THE SMUGGLER'S SON; A SON OF THE SEA; —TO FORGIVE, DIVINE; THE TOREADOR'S ROMANCE; THE TRAP-DOOR CLUE; THE WEDDING PRESENT; WHEN THE BEACON FAILED; WHEN WAR THREATENS; WHEN YOUTH MEETS YOUTH; WHO WAS GUILTY; WRECKED IN MID-AIR
 

Kleine--publicity 1914--1914

Record ID: 71331559

Scope and Content Note

publicity or advertising for the following 1914 Kleine releases: ANTONY AND CLEOPATRA; BETWEEN SAVAGE AND TIGER; JULIUS CAESAR; THE LAST DAYS OF POMPEII; OTHELLO; THE PILGRIM'S PROGRESS; SPARTACUS; flier for a three-reel film showing "European Armies in Action!" and Prince Ferdinand of Austria, undated; Kleine Optical Co. advertising, circa 1914
 

New York Morning Telegraph 1914--1914

Record ID: 71331560

Scope and Content Note

complete motion picture section including scene from THE ENVOY EXTRAORDINARY (Santa Barbara Motion Picture Company)
 

Pathe Freres 1913--1913

Record ID: 71331561

Scope and Content Note

mailer announcing multiple reel "Patheplays" for the week of August 18, [1913?]
 

Animation cels

Record ID: 71331562

Scope and Content Note

four unidentified cels
 

Scrapbooks

 

Scrapbook no. 1 1879--1916

Record ID: 71331563

Scope and Content Note

clippings regarding film history and inventions; correspondence; "International Photographer" (September 1934, and April 1935); early flier for the sale of film promotional items, including half-sheet posters for THE GREAT TRAIN ROBBERY (both Lubin and Edison versions) [four half-sheets are reproduced at 3½x2½]; call sheet for STAND-IN; daily cast reports for PITFALLS OF A BIG CITY and THE WILDERNESS TRAIL
 

Motion Picture Devices

 

Kinetoscope Circa 1894--1896

Record ID: 72004674

Scope and Content Note

Edison Kinetoscope purchased by Charles G. Clarke from a Penny Arcade shop in Inglewood, California, around 1936, donated to the Academy in January 1943. Restored to working order by Academy staff in 1965. Kinetoscope expert Ray Phillips notes the Academy Kinetoscope was converted to 110-volt power.