Blog Archives

Faculty Library Orientation (Food – Desserts & Sweets)

Faculty Library Orientation  
Tuesday, April 2, 11am
Visual Arts Library, 380 Second Avenue, 2nd floor

All SVA faculty members are invited to a brief tutorial on some of the Visual Arts Library’s most powerful digital tools, and a short tour showcasing its prized print and multimedia collections. The orientation should last no more than an hour. Refreshments will be served. We look forward to meeting you.

For more information, contact the library at reference@sva.edu.
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As invocation of, but not a promise as to the quantity, quality or types of refreshments that will be served at the Faculty Library Orientation, please enjoy the following pictures from the Picture Collection’s Food – Desserts & Sweets folder:

Individual Strawberry Jam Cakes. Martha Stewart Living, November 2003

Individual Strawberry Jam Cakes. Martha Stewart Living, November 2003

Sealtest Candied Apple Ice Cream. 1956

Sealtest Candied Apple Ice Cream. 1956

Lots of Chocolate

 December 1960

December 1960. Tutti-Frutti Date Pudding! 

Chocolate Ice Cream Cone

Candy in a jar

 

 McCall's, September 1973

McCall’s, September 1973

Assorted Chocolates

 

 

Magazine Covers – 1970-1979 – Part 2 (Film Magazines)

The picture collection has thousands of magazine covers, hundreds of which, sprinkled throughout the decades, are Film Magazine covers. 1970-1979 seems to have more than others, which is why I decided to give Film Magazines its own post for the 70’s. The 70’s is my favorite decade for cinema. What is yours?

Sight and Sound Spring 1970. John Frankenheimer's "The Horsemen". Photo by Hayden Percival.

Sight and Sound Spring 1971. Squirrel Nutkin (Wayne Sleep) in the Royal Ballet Film "Tales of Beatrix Potter," directed by Reginald Mills.

Film Comment Summer 1971. Jeanne Moreau and Orson Welles in Chimes at Midnight (1965) aka "Falstaff." Photo by Peppercorn - Wormser

Film Comment Spring 1972

Film Comment Spring 1972. Jane Fonda in "Klute." Photo: Warner Brothers.

Film Quarterly Fall 1972. Bud Cort in "Harold and Maude."

From Tom Dewitt Ditto's "The Fall" (1971) More About Tom Dewitt Ditto

 

Film Quarterly Winter 1972/1973. From Robert Altman's "Images."

AFI Report (American Film Institure Quarterly) Spring 1974. Cookie Monster eating the vision of the tele.

Film Comment Jan/Feb 1974. "Ken Takakura, Japan's number one Yakuza star. Photo: Paul Schrader.

Film Comment Nov/Dec 1974

Film Quarterly Fall 1975. Bennie Casey as "Hit Man."

Film Comment Nov Dec 1975. Georgina Hale in Ken Russell's "Mahler" (photo: MOMA/Film Stills).

 

Magazine Covers – 1970-1979

This post continues to look at Magazine Covers throughout the decades. 1970-1979 contains hundreds of items and as usual it was difficult choosing these few to feature.

I begin with this gem from 1970, the beautifully produced, polite propaganda, Soviet Life. We have a number of full issues in our periodical collection from the late 60’s, early 70’s, and early 80’s.

Portrait of Lenin, a woodcut done in 1968 by Andrei Goncharov

And from the idealism of Lenin we move onto the eroticism of Lennon in Avant Garde magazine which is also available in our periodicals no.1(1968:Jan.)-no.14(1971:summer).

This cover features the Lithograph "Lotus" by John Lennon

Cover by Jean-Pierre Fouchet

The Expulsion of Adam and Eve from Paradise, by Giovanni di Paolo (1402 or 1403 - about 1482), Italian (Siena). Tempera on wood, 17 3/4 x 20 1/2 inches. Photograph: Malcolm Varon. From the Robert Lehman collection.

Richard Serra "Base Plate Hexagram, Right Angles Inverted, Webster Ave. & 183rd Street, Bronx."

From the table of contents: "Cover: The snapshots on the cover were taken by the Editor at Borobudur and Prambhanan in Central Java and on the island of Bali. They depict the original setting of the Indonesian art works recently shown at the Asia House Gallery in New York."

From the table of contents: "The Cover: A whale breaching--or leaping from the water to roll onto its back--is a sight few landsmen can expect to encounter. Artist Alan E. Cober, a leading American illustrator, depicted the whale on our cover..."Few people even know what a whale looks like," says Cober. "I have rendered the marine life realistically, but the realism is my own."

Performance (May/June 1973)

Arts in Society (Summer/Fall 1973)

Novum Gebrauchs Graphik (February 1978) Cover by Young Su Lee

Novum Gebrauchs Graphik (March 1978) Cover: Wenzel Schmidt

Novum Gebrauchs Graphik (August 1978) cover by: Christian Josef

Novum Gebrauchs Graphik (November 1978) cover by: Kondow Satoshi

Audubon (September 1977)

This is a strange one, the “urban renaissance” issue of this defunct inflight magazine from US Airways.  “Mainliner Magazine” sounds like something for the heroine chic crowd.

Mainliner Magazine (March 1979)

Black American Literature Forum (Fall 1979) Illustration by Chike C. Aniaicor

Movie: “Reasoned Disagreement About Films in Britian”

Sometimes understatement and subtlety can backfire, especially when it is used for something as permanently identifying as a periodical’s title. Apparently referring to the word ‘film,’  V.F. Perkins wrote in a tribute to Ian Cameron (Cameron was the founder, designer and editor of Movie and Perkins an associate editor) that “the vulgar Americanism of the word gave it shock value and a pronounced identity.” Maybe that was true in 1960’s Oxford, England, but these days it’s just a really generic name that easily gets lost in our vast information shuffle. But it shouldn’t. Movie is a wonderful film magazine that took its cue and influence from the French Cahiers du cinéma.

Left: Back cover of issue 2, Blake Edward’s EXPERIMENT IN TERROR. Right: Front cover if issue 3, Emmanuele Riva in THERESE DESQUEYROUX

For Movie, criticism stems from, and is the logical conclusion of, the fanaticism that the writers and editors share for film. They write about movies and directors that they are really passionate about. They have a pluralistic philosophy when it comes to criticism. Much of the motivation for starting the magazine was the disenchantment they felt for established film criticism, which they felt tried to insinuate that there is one official stance when it comes to films and filmmakers. In the opening editorial of issue #1 (June 1962) they proclaimed “there is no point in replacing one cult with another. Instead we would like films to be the subject of enthusiastic argument in which our approach would only be one of many.” Despite all this, Movie had some very specific ideas about what is good and what is less so, as demonstrated in this histogram (also from issue #1):

As you can see it’s a list of directors, not writers, actors, producers,  or cinematographers. Movie was interested (in the least) with the Auteur Theory of film criticism.  First written about in a 1954 article by Francois Truffaut in Cahiers du cinéma, the Auteur Theory asserts that the director is (or should be) considered the author of a film. There is a nice little history of the theory by Donald E. Staples in Cinema Journal, Vol. 6, (1966 – 1967), pp. 1-7 (which you can access through JSTOR).

 

 

Left: The four stars of “Jumbo” Right: Mylene Demongeot in Michel Deville’s “A cause, a cause d’une femme”

 

You can find Movie in our back periodical stacks (dial M for Movie). Over it’s history the publication frequency was erratic, punctuated by frequent hiatuses, but they persisted for 29 years. We have 28 years: no.1(1962:June)-no.34/35(1990:Winter) (I believe they ceased publication with no.36 in 1991).  If you take some time to read the densely packed, but artfully designed issues, you will find in-depth interviews with a vast array of filmmakers, and gobs of writing on closely analyzed moving images captured on celluloid.  Ian Cameron was a well respected film critic, who apart from having this lovely mag as his periodic child, also wrote many books on film and helped England catch up with the (at the time) more cutting edge France and even the USA. It is a rich addition to our periodical collection. I’ll leave you with a couple more images from the magazine:

Right: Nagisa Oshim’s “The Hanging” Left: Sterling Hayden in Ruy Guerra’s “Sweet Hunters”

 

Film Dope

The Visual Arts Library recently acquired most of the dope:

Film Dope no.7(1975:Apr.)-no.50(1994:Apr.) We are missing the first 6 issues, and I believe no.50 is the last issue (I know it ceased some time in 1994). This is a British publication, the obsessively fussed over, though sometimes neglected love-child of David Badder & Bob Baker (Markku Salmi is credited as a co-editor on issue 7, but not after).

What is the Dope? Each issue of Film Dope provides information on 30 to 40 directors, actors, cinematographers, and writers. An exhaustive list of credits (mostly film and television, but also commercials) is given for each person that they profile. Now, if that is all that Film Dope provided, I would have not felt that it needed to take up precious space on our periodical shelves (even though they are beautifully bound, have great front and back covers, and a goodly number of production stills).

Left: Back cover of issue 8 credited in the following Manner: “A mystery-still. It’s officially described as ‘Pare Lorentz filming THE RIVER’ but from the look of the location, it could as easily be THE PLOW THAT BROKE THE PLAINS. We sent a copy to Floyd Crosby who commented ‘I don’t know what picture this is from. The man on the right could be Lorentz but doesn’t look like him to me. The man with the beret and the Akeley camera is certainly not me.’ Anyone else got an idea? Right: Katherine Hepburn in George Cukor’s LITTLE WOMEN

Right: Jeanne Moreau and Stanley Baker in EVE (1962) Left: Boris Karloff in THE MASK OF FU MANCHU (1932)

Right: Charles Rogers and Jean Arthur in HALF-WAY TO HEAVEN (1929), d. George Abbott. Left: Addison Richards (left), Raymond Massey in SANTA FE TRAIL (1940). Production still by Mac Julian.

If credits were all that Film Dope offered, IMDB and Wikipedia would have rendered this fine publication obsolete. What keeps this publication relevant, endearing, and worth having around are its format, its subjectivity, and its rich collection of primary sources of information.

Issue 7 (April 1975) includes the following entries: Paddy Chayefsky, Nikolai Cherkasov, Maurica Chevalier, Marvin Chomsky, Montgomery Clift, Sean Connery and 33 others. Issue 50 (April 1994) includes the following entries: Al Pacino, Jack Palance, Dorothy Parker, Robert Parrish, Charles Parrott, Christine Pascal. The twenty years between those two issues chronicled people with last names that started with D to O. Sadly, they would never make it to R-Z, but what we are left with is a periodical that over the span of twenty years morphed into an encyclopedia. During that time they went from thanking the British Film Institute staff for “their patience and assistance” to thanking them “for [their] continuing financial assistance.” Obviously they were creating something of apparent value.

David Badder & Bob Baker were two very dedicated, knowledgeable, and intelligent chaps, and it is their input and discretion that gave a value-added aspect beyond free online sources before they even existed. Many of the issues include an editorial (which normally offers some apology for how long its been between issues). But their real editorial influence is both in the amount of time they chose to give to each subject and the very personal opinions that they have of almost everyone chronicled. Normally, out of the 30 or so people featured, a handful have a more extensive narrative biography, along with an interview, reprinted correspondence and/or reflections from peers. These are the primary sources of information I was touting earlier. Some of the interviews, such as with the director Louis Daquin, go on for ten dense pages. Other entries are little more than the credits, but more often than not include some sort of anecdotal information and very personal, though meaningful opinions, such as Bob Baker’s of Julie Christie:

After lauding and defending Julie Christie, the ever honest film critic/hound is forced to admit, “I can’t ever imagine her moving me very deeply. I am at a loss to account for this and hope to be proved wrong very soon.” It’s informative but deeply subjective and gives a contemporaneous context of critical reception and in this case emotional barometer.

The people that made it to these issues, though impressive in scope, are obviously not exhaustive of everyone that worked in the motion pictures in England and the USA up to that point. But the fact that it is limited and now static, lends the publication a curatorial quality. The scope is, however, quite large (say, maybe 1200 people in our 43 issues) and full of variety (from Bob Clampett to Boris Karloff). Film Dope is a marvel and a joy, not to mention a rich, important resource for film research.

The list of credits reads like a companion piece to John Yau’s poem “I Was a Poet in the House of Frankenstein: Boris Karloff Remember Being Chinese on Several Occasions”