As we prepare to welcome Carole Tanenbaum, one of North America’s premier vintage and costume jewelry dealers, for her lecture “Celebrity Watch: 100 Years of Style Makers” and the Vintage Collection Jewelry Benefit Trunk Show and Sale this weekend, we thought we would have some fun by producing a video for a different kind of collector than we’re used to here at the Museum. In the video, Eastman House volunteer and makeover consultant Kay Noske shows the many ways you can think outside the ‘jewelry’ box.

George Eastman House is grateful for Carole Tanenbaum for generously donating a portion of the trunk show proceeds to help support the museum.

As Carole would say, “Stay fabulous!”

Although he has only directed four films, James Gray has already established himself as one of the most accomplished voices in modern American cinema. At a time when Hollywood moviemaking is defined by youth and spectacle, and “independent” cinema by disingenuous quirk, Gray’s films have embraced a restrained and classical visual style, a focus on the working class, an emphasis on character over action, and sincere performances of great depth and feeling.

Director James Gray on the set of ‘Two Lovers’.

It’s a style that’s a unique blend of American and European influences, and appropriately, Gray has long been received as a modern day auteur abroad. In France, Gray has been consistently praised by the critics of the prestigious Cahiers du cinema, and is the subject of a new book, Conversations with James Gray.

Born and raised in New York City — the setting for all of his films — Gray made his directorial debut in 1994 with Little Odessa, a striking mob picture set in Brooklyn’s Russian-Jewish community. Directed when Gray was only 25 years old, the film won the Silver Lion at the Venice Film Festival and immediately established Gray’s finely tuned sense of place and facility with actors.  Little Odessa was followed by a pair of noir-tinged, classically tragic crime dramas about families on either side of the law: The Yards and We Own the Night, both starring Mark Wahlberg and Joaquin Phoenix. Phoenix again starred in the romantic mood piece Two Lovers, giving a bravura performance as an emotionally scarred man who finds himself torn between two women (Gwyneth Paltrow and Vinessa Shaw).

Gray with Joaquin Phoenix.

Gwyneth Paltrow and Joaquin Phoenix in scenes from ‘Two Lovers’.

 

James has generously taken time out of preparation for his newest film (with an all-star cast including Phoenix, Marion Cotillard, and Jeremy Renner) to be with us for the Dryden Theatre screening of Two Lovers, this Friday, December 2nd.

 

Our recently-released book 500 Cameras is a survey of some of the most innovative and influential examples from the nearly 200-year history of cameras in our Technology Collection. The collection was featured in an earlier book, A Century of Cameras by Eaton Lothrup, documenting the 1839-1939 period— so of course this new book brings things more up to date.
The cameras are broken down into the catalogue types we use in the archive (box cameras, studio cameras, professional cameras, folding cameras, toys, etc.) and are arranged chronologically within each of those sections. This way, readers can experience how we categorize and work with the collection every day.
In my last book, Camera, we tackled a history of photography as seen through the camera and highlighted images made with them. This new book has a different focus: the cameras themselves. Each has a description and an informal narrative— somewhat along the lines as if I were personally touring you through the collection. It’s less about the technical nuts, screws and bolts and more about why they are culturally important.
The collection has over 8000 cameras, so of course picking 500 is a bit of a challenge. Right off the bat I started with those that are historically important, and that covers a lot of categories. Some were large selling products, others were milestones or ‘firsts’.
 
                                                                                                                                                                                                          Above (top): Giroux Daguerreotype Camera: The first  manufactured camera.  Above (bottom): Page from ’500 Cameras’ featuring the Giroux. 

Super Kodak Six-20: First automatic exposure control camera
 

Some were owned by well-known photographers:

 
Alfred Steiglitz’ Eastman View

Ansel Adams’ boyhood Brownie

Alvin Langdon Coburn’s Delta Reflex
 
 Then there’s important advances:

The original Leica: the first high-quality mass produced 35mm camera

The oldest known Kodak (No. 6)
 
For the cover image, we wanted a fairly rare camera people could relate to both from a collecting standpoint and just from its physical appearance. 

Cover Camera: Bell & Howell Foton 

The style of the book was designed to make the book look somewhat like a 1950s camera instruction manual- even the color choice.

Editor’s note: Todd will be talking about and signing his book here this Saturday, November 19 at 1:15pm. 

The Motion Picture Department is home to nearly one million film stills covering over 100 years of movie making.  Historians, scholars, students, and others from a broad range of disciplines contact us every year for access to the stills collection, both in person and remotely, from all over the world.

It is fairly simple and straightforward to find and select stills when requested by a film title or by a person’s name.  That is how the stills in the collection are physically organized in the vault; it is also how stills are most frequently requested. But what about requests for stills that show certain subjects, such as World War I airplanes, stars with their pets, Technicolor cameras on set, or…

Jewelry?

This was the task at hand when we received a request for stills of stars wearing beautiful jewelry that could be used in conjunction with the upcoming Carole Tanenbaum Vintage Collection Jewelry Trunk Show and Sale.

In this case, the catalog record unfortunately does little in trying to get at stills that show lovely pieces of jewelry on lovely actresses.  The catalog record for a still typically captures the title of the film and the actors and actresses shown in the still, but doesn’t go to the deeper level of what objects happen to be in the still, or how well accessorized the actresses are. This is where creative thinking, some research, and of course knowledge of the stills collection come into play.

A little research into jewelry designers such as Joseff of Hollywood, whose company designed jewelry for films for over 30 years, was the first step that led us to several titles as likely sources of stills featuring outstanding jewelry:  Gone With the Wind, Casablanca, Humoresque, Kismet, Singin’ in the Rain, Breakfast at Tiffany’s, and Cleopatra were just a few.  Our search quickly led us to the Warner Bros. Keybook Stills Collection for an abundance of stills of Ingrid Bergman in Casablanca (1942) and Joan Crawford in Humoresque (1946), both very well appointed in 1940’s jewelry.

Images of even more stunning jewelry creations, worn by Grace Kelly and Jessie Royce Landis in To Catch a Thief (1955) and by Elizabeth Taylor in Cleopatra (1963), were found in the Core Publicity Stills Collection.

Film stills of this era were primarily shot and printed in black and white (even the stills shot for color films).  So for color images, we consulted a collection of gorgeous color transparencies from the 1950’s featuring such stars as Mitzi Gaynor in a publicity portrait for There’s No Business Like Show Business (1954) and Dorothy Dandridge in a publicity portrait for Island in the Sun (1957).

It never fails to surprise me how many different ways there are to access the stills collection, and for so many different and unexpected purposes.  Requests like these keep an already fascinating job even more fascinating!

I’ve been at the museum for 11 years now, first as an intern, then as a student at Eastman House’s L. Jeffrey Selznick School of Film Preservation. I was hired as a curatorial assistant and then moved into the position of cataloger for the Motion Picture Department.

My wife hates it when I talk in terms of fractions, but it’s been more than one-quarter of my life spent here at Eastman House, and the thing that attracted me, inspired me and drives me to this day is the wonderful film preservation program that we all play a daily part in.

George Eastman House has collected close to 28,000 titles in the last 60 years, and has been preserving them on film for almost as long, keeping them in vaults that will make sure they are accessible to future generations for hundreds of years to come.

Robert Osborne with Eastman House's Jared Case on the TCM set, taping the Salute to George Eastman House, airing Dec. 14.

In my current role as Head of Collection Information and Access, I get to talk to people about these films, whether it’s for exhibition at our own Dryden Theatre, or researchers who come to Rochester to view films from the collection, or institutions around the world that borrow the prints and play them at their own venues. So, when I received the opportunity to talk about some of these films with a national audience, I jumped at the chance.

Turner Classic Movies chose George Eastman House to be the focus of a 24-hour salute, providing airtime for films that have been conserved, preserved, restored, and reconstructed by the Motion Picture Department. The highlight of this salute to George Eastman House will be the introductions provided by longtime TCM host Robert Osborne and, as a representative of the museum, myself. I visited the studio on Friday, Nov. 11, to tape the segments for broadcast.

The four movies highlighted with introductions are Stanley Kubrick’s Fear and Desire (1953), Technicolor gem Pandora and the Flying Dutchman (1951), early action film Roaring Rails (1924), and the oldest-existing film version of Mark Twain’s classic Huckleberry Finn (1920).

I did a lot of research and preparation in advance of the trip. I made sure I knew about not only the films themselves, but also the preservations that George Eastman House provided for them – the history, the technical aspects, the materials used. I tried to anticipate any question about the films that might be asked, and even prepared short papers to structure the information in my mind.

"Huckleberry Finn" (1920)

But I needn’t have worried. Mr. Osborne and the entire crew at Turner Classic Movies are so kind, professional, and generous that they made the entire experience a joy. We sat down for an hour and a half and had casual (but informative!) conversations about the films, the George Eastman House, and preservation in general. The set looked gorgeous, staged for the holiday season, and I had a great time, from the first minute to the last.

As the tribute day approaches, I will blog again, in more detail about the salute, as to what will be on, and when to watch. But the date to remember is one month from today — Wednesday, December 14 — starting at 6:15 a.m. on Turner Classic Movies.