So you’re putting together a movie museum. You have chosen feature films and short videos for cinemas and its walls, but how will you fill the rest of the space – especially with, say, a one-of-a-kind prop from the 1940s?
For Museum of Cinema of the Academyit is a mixture of reasonable acquisitions and connections with some a lot generous friends directors. “The process is going in both directions,” said Doris Berger, senior director of curatorial affairs. “We have an incomparable collection like the Academy. IN [Academy of Motion Picture Arts and Sciences’] The Margaret Herrick Library has been collecting for decades: film posters, drawings, costume drawings, photographs. The academy museum has been collecting – for about a decade – three-dimensional items such as costumes and props and make-up sets and cameras. And so we draw from our own collection, and we connect with directors who collect film souvenirs. “
We caught up with Berger to find out how five of the most significant works in the exhibition Academy Museum paved the way for the collection and why they are so significant.
Dorothy ‘s Ruby Slippers from The Wizard of Oz (1939)
Among the countless ruby slippers made for The Wizard of Oz, only four are known to have survived. And this, according to the Academy, is so on a pair – the “Holy Grail of American cinema”, as Berger puts it – which was used in close-up photos and for those iconic heel clicks.
This was one of the most exciting initial acquisitions for the museum, which bought them in 2012 for an undisclosed amount with the help of a group of Hollywood investors led by the Leonardo DiCaprio Foundation.
For Berger, they are much more than just shiny shoes. It has a symbolic meaning for all of us that we connect with and remember when Dorothy says “no place like home” and snaps her heels and transports [back home]”she says.” It’s really powerful, and ruby slippers are a symbol of that. “
Shane Rosebud from Citizen Kane (1941)
Only one balsa tree sleigh decorated with pink buds from Orson Welles’ remarkable film has survived and now belongs to the Academy. But before that, it was actually part of Steven Spielberg’s personal collection after he saved it from the RKO vault at auction in 1982. After spending time at home and office, Spielberg chose to donate it to the Academy. tells the BBC in a way very similar to Indiana Jones, “he belongs in a museum.”
As for the rest of the sleigh trip, Berger explains: “It was such a surprise – first of all, that it still exists. Three sledges were made for the film Citizen Kane. Orson Welles didn’t like the first shot when the sled was thrown into the furnace, so the first support burned. Orson Welles liked the second shot, but fortunately it worked, so a third sleigh survived. And Steven Spielberg had this in his collection and so we are lucky to be able to show real Rosebud props in our vignette for Citizen Kane”
ET animatronic with the whole body from ET The Alien (1982)
Another piece from Spielberg’s collection, this full-body animatronic, was one of only three created for the great 1982 film. And although puppet master Carlo Rambaldi’s work now stands statically behind glass, ET looks just as cute as silver screen.
This is especially true for Berger: ET was the first film I saw on the big screen and “to see ET live, so to speak, as a real object was very touching for me.” This impact has only intensified since she watched the film again. “I think you create an extra connection with a movie after you see objects that have been included in a movie,” she says. “It simply came to our notice then ETbut that’s true of any other movie. “
Casting of cards from Real women have curves (2002)
While the Academy Museum was assembling its gallery Real women have curvescurator Sofia Serrano built a good enough relationship with film director Patricia Cardoso that she decided to donate some of her personal belongings to the Academy’s archives: hand-marked Polaroids and cards with notes on the process leading to the casting of stars Lupe Ontiveros and America Ferrera ( in his first acting role).
Meanwhile, the other half of the gallery focuses on “how Boyle Heights played a significant role in this film,” Berger said. “It’s almost like a hero, the location.”
The background of Mount Rushmore from North to northwest (1959)
The museum plans to simply borrow this 30-foot painting for its exhibition on film backgrounds. But Culver City’s JC Backings, which kept Alfred Hitchcock’s movie props, decided to donate it instead.
His permanent place in the museum is probably for the better: Berger says it took about 20 people to roll, unfold and carry the painting from the gallery’s balcony to display it.
Although the painting covering the wall is undoubtedly in the spotlight, the rest of the gallery tells a much more complex story about the origins of its setting. “We’re looking at filmmaking technology to raise awareness of this beautiful craft,” Berger said. “[But also] we embrace the aspect of inclusion and complex stories. On the one hand, the picture shows Mount Rushmore, and on the other, this is the landscape, the Black Hills – and it is really difficult for the Lakota Indian tribes to desecrate this land with carved figures. So we tell this story of cultural history, which is a contested image, at the same time we also celebrate the art of painting the background. “
Here’s how these 5 pieces ended up in the Academy Museum’s collection Source link Here’s how these 5 pieces ended up in the Academy Museum’s collection