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Rare Book & Manuscript Library

Andrew Sarris papers, 1945-1988, bulk 1965-1985

20.42 linear feet
The Andrew Sarris Papers are comprised of correspondence, drafts and manuscripts, clippings, printed ephemera, periodicals, monographs, photographs, and audio recordings related to the career and personal life of renowned film critic Andrew Sarris. The materials span several decades, from the inception of his career as a film critic and theorist in the mid-1950s to the last years of his long tenure at The Village Voice in the late 1980s..
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Series IV: Photographs, undated

This series is comprised mostly of film stills. Films with a significant number of stills are

This series is comprised mostly of film stills. Films with a significant number of stills are grouped together and arranged alphabetically by title, and the film titles are listed in the finding aid. For other films with a less significant number of stills, the titles were previously handwritten on the back, though there are some stills that could not be identified. This series also contains a few headshots and portraits of directors, including Ingmar Bergman and John Ford. The series also features a small section of personal photographs, many of them portraits of Sarris' wife, Molly Haskell.

Rare Book & Manuscript Library

Walter Farley Papers, 1933-1993, bulk 1935-1970

21 linear feet
This collection documents the life and work of Walter Farley, the American author of The Black Stallion series predominantly on horse stories for young readers. The collection includes original manuscripts and material related to the twenty novels he completed during his lifetime.
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Rare Book & Manuscript Library

Ernestine Evans papers, 1890-1968, bulk 1930-1967

15 linear feet
Contained in this collection are documents related to the life and career of Ernestine Evans, a journalist, critic and literary agent active in the early-to-mid-twentieth century. Personal and professional correspondence and a wide variety of literary manuscripts, likely accumulated during her long career as a literary agent, constitute the bulk of this collection. In addition, the collection includes photographs, drawings and other visual material. Also represented in this collection are clippings of Evans' and other journalists' work; printed material, both periodicals and books; personal documents (including address books, contact lists and journals), financial documents and medical documents.
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Series IV: Visual material, 1890s-1963, undated

Mexico; and film stills from documentaries by Evans' friend and colleague, Robert Flaherty.

This series contains a wide array of photographs, prints, drawings and watercolor paintings. Among the large collection of photographs are a small number of images of Evans; images of schoolchildren by the renowned photographer Gordon Parks; images and manuscripts from the Magnum News Service; photographs and picture postcards from many countries around the world, including Russia, Mongolia, India and Mexico; and film stills from documentaries by Evans' friend and colleague, Robert Flaherty.

Rare Book & Manuscript Library

Tennessee Williams papers, 1920-1983

160 linear feet
A large and important collection of the correspondence, memoirs, and plays of Tennessee Williams. The collection is especially strong in the later works.
1 result
Rare Book & Manuscript Library

Amos Vogel papers, 1896-2001, bulk 1960-1990

68 linear feet
This collection documents the professional work of film critic, professor, and author, Amos Vogel. The bulk of the records are concerned with numerous films that Vogel has screened for Cinema 16, the independent film society that he founded and directed for sixteen years, as well as administrative records, correspondence, photographs, and printed material.
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Subseries IV.2: Film Stills, 1920-1994

Subseries IV.2: Film Stills, 1920-1994

This second subseries is composed primarily of photographs from films screened by Amos Vogel. Although there are stills from more "mainstream" films, the bulk of the films represented were independently produced. In many cases, these photographs may be the only surviving visual documentation of a particular production. The photographs are arranged alphabetically by film title and span Vogel's career. Some include accompanying material, such as publicity advertisements, negatives, and annotations written by Vogel for photographs that were used in his book Film as a Subversive Art.

  1. Series IV: Photographs, 1920-1999

Series IV: Photographs, 1920-1999

subseries: General and Film Stills.

Series IV is composed of photographs, both professional and nonprofessional, contact sheets, and negatives. There are also slides that Amos Vogel used in to conduct his film lectures. Subjects of these images vary from individuals, such as famous directors and actors, events, for example the Cannes Film Festival and the New York Film Festival, and stills from films themselves. This series is divided into two subseries: General and Film Stills.

Subseries II.1: Film Files, 1896-1993

, analyses by other film critics, and photographs. Please note that all film stills have been separated and

This subseries is arranged alphabetically by the title of the film or film series. Titles listed vary widely from obscure films that may have only been shown for Cinema 16 events to Hollywood-produced blockbusters. The files consists of promotional material such as fliers, posters, quotes, plot summaries, and biographical information about the film's creators, articles and reviews from major news and film sources, analyses by other film critics, and photographs. Please note that all film stills have been separated and may be found in Series V, Subseries 2. Most importantly, Vogel himself often wrote notes about the films in preparation for published articles, which were included in this subseries, programs notes for Cinema 16, and lecture material for his courses. Within this subseries is a substantial number of oversized printed material in the form of posters, publicity-focused advertisements, and pamphlets.

  1. Series II: Film Files, 1896-2001
Rare Book & Manuscript Library

Bomb Magazine records, 1978-2017

129 linear feet
This collection contains the administrative records of the interview-based arts journal, BOMB Magazine.
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C.V. Starr East Asian Library

The Makino Mamoru Collection on the History of East Asian Film, 1863-2015, bulk 1920s-1990s

370.11 linear feet
Over the course of fifty years, the former documentary filmmaker Makino Mamoru (1930-) developed an extensive collection on the history of East Asian film, which covers the history of Japanese cinema spanning over a hundred years. The collection as a whole contains approximately 80,000 items, and focuses on print materials. The materials cover various film events and festivals across multiple genres of films: experimental films, educational films, documentary films, news films, amateur films, and animated films, among many others. The collection contains books, correspondences, handbills, magazines, manuscripts, newspapers, notes, photographs, postcards, posters, scripts/scenarios, slides, glass plate negatives, video cassettes, and other printed materials.
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Subseries III.7: Kume Masao/久米正雄, 1891-1952

yoru/支那の夜/China Nights, and film stills and photographs from the Japanese film production company

Kume Masao materials were purchased at auction by Makino. Kume was a novelist and classmate of Akutagawa Ryūnosuke/芥川龍之介 and Kikuchi Kan/菊池寛. This subseries includes his Collection of Letters, newspapers, magazines, and pamphlets. Includes production company notices (invitations to studio events), and materials related to the Greater Japan Film Association/Dai Nippon Eiga Kyōkai/大日本映画協会.

  1. Series III: Film-Related Individuals' Files, 1863-2012 [Bulk Dates: 1900s-1950s], 1863-2012

Subseries VII.2: China (including Manchuria), 1928-2006

For film stills and photographs of Man'ei actors and actresses, see Subseries XVII.1 Photos and

This subseries contains materials from and about the former colony of Manchuria, and Manchurian cinema related to the Japanese film production company Manshū Eiga Kyōkai/満州映画協会or Man'ei/満英 that was in the Japanese colony of Manchukuo in the 1930s and 1940s. These include distribution planning reports on small-gauge film (kogata eiga),and other research, with dates in Manchukuo calendar years (kōtoku/康徳). There are also Shanghai film production company magazines from the 1930s. There are special issues of magazines about Manchurian film, promotional fliers, and photocopies of magazine articles and tables of contents.

  1. Series VII: East Asian (Pre-and Post-War), 1923-2006
Rare Book & Manuscript Library

Paul Richard Palmer records, 1907-1986

6 linear feet

Correspondence and inscribed photographs sent to Paul Palmer. Mr. Palmer has collected portraits of film and theater notables and other celebrities since the 1920s. Many of the photographs are inscribed to him and there is some correspondence as well as lobby display cards. Among the cataloged names are: Katharine Cornell, Lillian & Dorothy Gish, Rudyard Kipling, Gertrude Lawrence, Sir Compton Mackenzie, Mary Pickford, Constance & Norma Talmadge, Dame Sybil Thorndike, and H. G. Wells

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Rare Book & Manuscript Library

Paul Jarrico papers, 1914-2014

44 linear feet
Paul Jarrico (1929-1996) was a Hollywood screenwriter working in the studio system in the 1930s and 1940s. A lifelong communist, he was subpoenaed before the House Committee on Un-American Activities in 1951. His refusal to comply with the Committee's questions saw him lose his job at RKO and placed on the so-called Hollywood "Blacklist." His films were marked by their marriage of art and politics, often commenting on the pressing issues of their time. Notably, his 1954 film Salt of the Earth, a collaboration between blacklisted filmmakers and the International Union of Mine, Mill and Smelter Workers, was regarded as a subversive critique of mid-century American capitalism.
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Rare Book & Manuscript Library

Daniel Talbot Papers, 1923-2010, bulk 1960-2008

495 linear feet
The Dan Talbot Papers document the business operation of the New Yorker Films, an independent film acquisition and distribution company, dating from 1960s to 2008, as well as movie theaters in the Upper West Side Manhattan which he operated, dating from 1960 to 2007. It is of particular relevance to New Yorkers as the Talbots operated the New Yorker Theater, Cinema Studio, Metro, and Lincoln Plaza Cinemas, on the Upper West Side, as popular venues to view independent and foreign films.
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