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Mon, 09 Jul 2018 12:04:53 +0000
Now Playing at the Packard Campus (July 19-21, 2018)
The following is a guest post by Jenny Paxson of the Packard Campus. Thursday, July 19 (7:30 p.m.) Destry Rides Again (Universal, 1939) Directed by George Marshall and starring James Stewart and Marlene Dietrich, Destry Rides Again is set in Bottleneck, a lawless town run by corrupt saloon owner, Kent (Brian Donlevy), who finds himself […]

The following is a guest post by Jenny Paxson of the Packard Campus.

A Florida Enchantment (Vitagraph, 1914)

Friday, July 13 (7:30 p.m.)
A Florida Enchantment (Vitagraph, 1914)
At a Florida seaside resort Miss Lillian Travers, a young bride-to-be (Edith Storey) swallows a magic African seed which allows her to change gender in every way except outward appearance, much to the dismay of her fiancé, who soon finds both himself and his future wife flirting with the same women! More confusion ensues when Lillian slips a magic seed to both her future groom and her maid. Filmed in St. Augustine and St. Petersburg, Florida, this silent comedy was directed by Sidney Drew who also stars as the perplexed fiancé. Mrs. Sidney Drew, his frequent co-star, appears in a supporting role. 63 min., digital presentation. Two one reel comedy shorts are also on the program:  Behind the Footlights (Vim, 1916) starring Bobby Burns and Walter Stull and A Bath Tub Elopement (Eagle, 1916) starring Marcel Perez. Live musical accompaniment will be provided by Andrew Simpson.

Lilio & Stitch (Disney, 2002)

Saturday, July 14 (2 p.m.)
Lilo & Stitch (Disney, 2002)
Lilo, a lonely orphaned Hawaiian girl being raised by her older sister, adopts an odd-looking dog she names “Stitch.”  Stitch turns out to be super-smart, super-strong and prone to induce pandemonium. It turns out that the “dog” is actually a notorious extra-terrestrial fugitive. Written and directed by Dean DeBlois and Chris Sanders (who also voices Stitch), this science fiction comedy-drama was Oscar nominated for Best Animated Feature film. The combined critical and commercial success of the original film led to three direct-to-video and television sequel films, three animated television series, several video games, some theme park attractions, and various merchandise. Rated PG, 85 min. 35mm archival print.

Saturday, July 14 (7:30 p.m.)
Paris When it Sizzles (Paramount, 1964)                                                                    
William Holden plays Rick, a screenwriter more focused on drunken carousing than writing. When faced with a looming deadline, he hires Gaby (Audrey Hepburn) as his assistant and together they blur the lines between reality and fantasy as they imagine themselves as various characters from the script, before ultimately falling in love. Noel Coward appears in a small role with cameo appearances by Marlene Dietrich, Tony Curtis and Hepburn’s then-husband Mel Ferrer. Directed by Richard Quine, this romantic comedy was not well received by critics when released but over the years has earned a reputation as a guilty pleasure for those who enjoy in-joke movie spoofs and an absurdist storyline played out against the glorious backdrop of the City of Light. 110 min. 35mm archival print.

For more information on our programs, please visit the website at: www.loc.gov/avconservation/theater/.


Fri, 06 Jul 2018 11:23:03 +0000
Now Playing at the Packard Campus (July 13-14, 2018)
The following is a guest post by Jenny Paxson of the Packard Campus. Friday, July 13 (7:30 p.m.) A Florida Enchantment (Vitagraph, 1914) At a Florida seaside resort Miss Lillian Travers, a young bride-to-be (Edith Storey) swallows a magic African seed which allows her to change gender in every way except outward appearance, much to […]

Spanning ninety years, the August schedule for The Library of Congress Packard Campus Theater in Culpeper features star-studded dramatic classics on the National Film Registry (Joan Crawford in Mildred Pierce, Lana Turner in Imitation of Life and Bette Davis in Now, Voyager); a recent restoration of the 1922 Marion Davies historical romance When Knighthood was in Flower; animated feature matinees (Tangled and An American Tale) and La Strada, winner of the 1956 Oscar for Best Foreign Language Film, as well as two Oscar nominated titles from this millennium: Flight starring Denzel Washington and Brokeback Mountain starring Heath Ledger and Jake Gyllenhaal.

Also on the schedule are the romantic dramas Christopher Strong (1933) Magnificent Obsession (1935), Brief Encounter (1945), Home from the Hill and Martin Scorsese’s The Age of Innocence (1993).

Thursday, August 2 (7:30 p.m.)
Mildred Pierce (Warner Bros., 1945)
This quintessential Joan Crawford film features Crawford as a housewife turned successful restauranteur who sacrifices all for her ungrateful daughter (Ann Blyth). Ranald McDougall wrote the screenplay for this melodrama tinged with film noir which was directed by Michael Curtiz. Crawford, ably supported by strong performances from Blyth, Jack Carson and Eve Arden, won her only Oscar for this role. The film also received Oscar nominations for Best Film, Best Screenplay, Best Cinematography by Ernest Haller and Best Supporting Actress for both Blyth and Arden. “Mildred Pierce” was added to the National Film Registry in 1996. 35mm archival print, 111 min.

Friday, August 3 (7:30 p.m.)
When Knighthood Was in Flower (Paramount, 1922)
Marion Davies stars as Mary Tudor, sister of King Henry VIII, whom the king aims to use for political gain by offering her hand in marriage to King Louis XII of France. For period authenticity, no expense was spared on the production’s costumes, armor and tapestries or on Joseph Urban’s huge, lavish sets. The breakout role made Marion Davies a star. This will be a digital presentation of a new restoration that was scanned from an original 35mm nitrate print preserved by the Library of Congress. Live musical accompaniment will be provided by Ben Model who released the film on DVD through Undercrank Productions in cooperation with the Library of Congress. Digital presentation, 115 min.

Saturday, August 4 (2 p.m.)
Tangled (Disney, 2010)
Based on the classic Grimm Brothers fairy tale, this Disney animated feature tells the story of Rapunzel (Mandy Moore), stolen from the palace nursery as an infant and raised by the evil Mother Gothel (Donna Murphy), who locks her up in an enchanted tower and uses Rapunzel’s hair to continuously restore her youth. One day a handsome roguish thief called Flynn Rider (Zachary Levi) arrives on the scene and Rapunzel seizes the opportunity to escape. Directed by Byron Howard and Nathan Greno, the film features a music score by Alan Menken. The song I See the Light, music by Menken and lyrics by Glenn Slater, was nominated for the Best Original Song Academy Award. Rated PG, 35mm archival print, 100 min.

Saturday, August 4 (7:30 p.m.)
Imitation of Life (Universal, 1959)
In this second film adaptation of Fannie Hurst’s popular and controversial 1933 novel about race, sex, and class in America, Lana Turner stars as Lora Meredith, a career-driven actress with Juanita Moore as her friend Annie Johnson, a good-hearted black woman who shares her life, and whose troubled daughter (Susan Kohner) passes for white. The last film in a series of glossy “women’s picture” melodramas directed by Douglas Sirk and produced by Ross Hunter, this remake offers an effective contrast to the more restrained style used by John Stahl in the 1934 version (previously selected for the National Film Registry), starring Claudette Colbert and Louise Beavers. Both Juanita Moore and Susan Kohner were nominated for Best Supporting Actress Oscars and the film invigorated the career of Lana Turner who had recently come thorough a particularly trying Hollywood scandal. The film was added to the National Film Registry in 2015. Digital presentation, 125 min.

Thursday, August 9 (7:30 p.m.)
La Strada (Dino de Laurentiis Distribuzione, 1954)
The legendary Federico Fellini directs his wife, Giulietta Masina, as Gelsomina in the film that launched them both to international stardom. Gelsomina is sold by her mother into the employ of Zampanò (Anthony Quinn), a brutal strongman in a traveling circus. When Zampanò encounters an old rival in highwire artist the Fool (Richard Basehart), his fury is provoked to its breaking point. With “La Strada,” Fellini left behind the familiar signposts of Italian neorealism for a poetic fable of love and cruelty, evoking brilliant performances and winning the hearts of audiences and critics worldwide. Winner of the first ever competitive Academy Award for Best Foreign Language Film. Shown in Italian with English subtitles. 35mm archival print, 108 min.

Friday, August 10 (7:30 p.m.)
Brief Encounter (Eagle-Lion, 1945)
After a chance meeting at a suburban British train station, a married doctor and a middle-class housewife find themselves drawn into a poignant romance. Adapted by Noel Coward from his one-act play, the film stars Celia Johnson and Trevor Howard as the proper and reserved lovers. Called by Sir Richard Attenborough “a landmark and touchstone” for the film industry, “Brief Encounter” established David Lean as a great director, with a sense of character and romantic fatalism that would be found in such later hits as Lawrence of Arabia (1962) and Doctor Zhivago. The film shared the 1946 Grand Prix at the Cannes Film Festival and was Oscar nominated for Best Actress (Johnson), Best Director (Lean) and Best Adapted Screenplay. Digital presentation, 86 min.

 Saturday, August 11 (2 p.m.)
An American Tail (Universal, 1986)
In this animated musical adventure set in 1885, the Mousekewitzes, a Russian-Jewish family of mice, emigrate from Ukraine to America on a tramp steamer where they’ve been led to believe there are “no cats.” During a thunderstorm, young Fievel suddenly finds himself separated from his family and hopes to find a way to reunite with them once in New York. James Horner wrote the score for the film, and the song Somewhere Out There, composed by Horner, Barry Mann and Cynthia Weil and sung by Linda Ronstadt and James Ingram, won a Grammy Award for “Song of the Year,” as well as “Most Performed Song from a Motion Picture” from both the ASCAP and Broadcast Music Awards. Rated G. 35mm archival print, 80 min.

Saturday, August 11 (7:30 p.m.)
Home from the Hill (MGM, 1960
Robert Mitchum stars as powerful Texas landowner Capt. Wade Hunnicutt in this epic family saga based on the novel by William Humphrey. The story explores the tangled relationships of Wade, his estranged wife Hannah (Eleanor Parker), their adult son Theron (George Hamilton), and his illegitimate son Rafe (George Peppard) from an earlier relationship. Directed by Vincente Minnelli, best-known at the time for sophisticated musicals such as An American in Paris (1951) and Gigi (1958), Home from the Hill represents another genre in which he would win critical acclaim, particularly in later years — the melodrama. The film opened to strong reviews and both Mitchum and Peppard won acting awards for their roles from the National Board of Review. 35mm archival print, 150 min.

Thursday, August 16 (7:30)
Christopher Strong (RKO, 1933)
After making a striking film debut in Bill of Divorcement (1932), RKO signed Katharine Hepburn to a long term contract and selected a story about a headstrong, individualistic woman for their new star’s follow-up feature. Playwright Zoe Akins adapted Gilbert Frankau’s novel about a prize-winning aviatrix who drifts into a potentially disastrous affair with the happily married British politician Christopher Strong (Colin Clive). To direct, producer David O. Selznick chose one of Hollywood’s few women directors, Dorothy Arzner. Actual newsreel footage of parades and famous flights added authenticity of the film which features Billie Burke, Helen Chandler and Jack LaRue in the cast. 35mm archival print, 78 min.

Friday, August 17 (7:30 p.m.)
Flight (Paramount, 2012)
Denzel Washington stars as commercial airline pilot “Whip” Whitaker who astonishingly crash-lands his plane after it suffers an in-flight mechanical failure, saving nearly everyone on board. Hailed as a hero immediately following the incident, an investigation soon turns up evidence that sheds a negative light on the captain. Directed by Robert Zemeckis, the action drama film received wide critical acclaim and earned a Best Original Screenplay nomination for John Gatins. Washington was nominated in the Best Actor category for the Academy Award, the Golden Globe and the Screen Actors Guild Award. MPAA Rated R for drug and alcohol abuse, language, sexuality/nudity and an intense action sequence. No one under the age of 17 will be admitted without a parent or guardian. 35mm archival print, 138 min.

 Saturday, August 18 (7:30 p.m.)
Now, Voyager (Warner Bros., 1942)
A resonant woman’s picture, Now, Voyager features Bette Davis as Charlotte Vale, a dowdy spinster terrorized by her possessive mother (Gladys Cooper) and on the verge of a nervous breakdown. While undergoing treatment at a sanatorium, a caring psychiatrist (played by Clause Rains) suggests that Charlotte go on a cruise, where she finds love with Jerry Durrance (Paul Henreid). The compassionate therapy and later improbable romance transforms her into a confident, independent woman. Davis and Cooper were both Oscar nominated and Max Steiner won for Best Music. Now, Voyager was Bette Davis’ biggest box office hit of the ’40s. It was added to the National Film Registry in 2007. 35mm archival print, 117 min.

 Thursday, August 23 (7:30 p.m.)
The Age of Innocence (Columbia, 1993)
Martin Scorsese, in a departure from his usual gritty crime epics, directed this opulent adaptation of Edith Wharton’s 1921 Pulitzer Prize-winning novel of manners and social mores in 19th-century New York. Daniel Day Lewis stars as a well-connected, socially correct lawyer, who risks his future place in society when he falls in love with his fiancee’ May’s married cousin, Countess Ellen Olenska (Michelle Pfeiffer). The film won an Oscar for Costume Design, and Winona Ryder was nominated in the supporting acting category for her nuanced performance as the charming but passive May. Other nominations included art direction, score by Elmer Bernstein, and screenplay by Scorsese and film critic Jay Cocks. Rated PG. 35mm archival print, 139 min.

Friday, August 24 (7:30 p.m.)
Magnificent Obsession (Universal, 1935)
Robert Taylor stars as self-absorbed millionaire playboy Robert Merrick whose reckless ways indirectly cause the death of a beloved local doctor. As Merrick tries to make amends to the man’s widow, Helen (Irene Dunne), his long journey from selfish cad to compassionate savior becomes a magnificent obsession. John M. Stahl directed this first film adaptation of Lloyd C. Douglas’ 1929 best-selling novel that had been something of a phenomenon for its message of enriching one’s own life through philanthropy and acts of compassion done in secret. Later remade by Douglas Sirk and starring Rock Hudson and Jane Wyman, this romantic drama was a big hit that catapulted Taylor, up until then a light leading man, to stardom. 35mm archival print, 112 min.

Saturday, August 25 (7:30 p.m.)
Brokeback Mountain (Focus, 2005)
Set against the sweeping vistas of Wyoming and Texas, Brokeback Mountain is the story of two young men – a ranch-hand and a rodeo cowboy – who meet in the summer of 1963 when they are hired as sheep herders, and unexpectedly forge a lifelong connection that provides a testament to the endurance and power of love. Starring Heath Ledger, Jake Gyllenhaal, Anne Hathaway, and Michelle Williams, the film was nominated for eight Academy Awards and won three: Best Director (Ang Lee), Best Adapted Screenplay (Diana Ossana and Larry McMurtry), and Best Original Score (Gustavo Santaolalla).  Adapted from the 1997 short story of the same name by Annie Proulx, winner of the 2018 Library of Congress Prize for American Fiction. MPAA Rated R for sexuality, nudity, language and some violence. No one under the
age of 17 will be admitted without a parent or guardian. 35mm archival print, 134 min.


Thu, 05 Jul 2018 12:30:41 +0000
At the Packard Campus Theater — August 2018
Spanning ninety years, the August schedule for The Library of Congress Packard Campus Theater in Culpeper features star-studded dramatic classics on the National Film Registry (Joan Crawford in Mildred Pierce, Lana Turner in Imitation of Life and Bette Davis in Now, Voyager); a recent restoration of the 1922 Marion Davies historical romance When Knighthood was […]

The following is a guest post by David Jackson, Archivist, Bob Hope Collection, Packard Campus for Audio Visual Conservation.

Bob Hope Collection. 

I’m entering the home stretch of my project to process the manuscript materials in the Bob Hope Collection and wanted to present a brief look at what’s now available for researchers. Processed material has been entered into a draft finding aid that can be accessed through staff at the Library of Congress’s Recorded Sound Research Center. The finding aid will not be published until the completion of this project.

William Robert Faith, in his book Bob Hope: A Life in Comedy, describes three record series within the papers: the Bob Hope Joke Files (BHJF), Bob Hope Personal Files (BHPF), and Hope Enterprises Public Relations Files (HEPRF). While the latter two, consisting of correspondence, photographs, newspaper clippings, and business records, are still undergoing processing, the first of these series is now available. The Joke Files consist of hundreds of linear feet of scripts, material, correspondence, and records covering the creative output of Bob Hope’s career in film, radio, and television, as well as his numerous personal appearances.

Bob Hope Collection. 

The film series consists of scripts from every one of theatrical features. The 25 linear feet of material ranges widely for each production. For many of his earliest films, produced in-house by Paramount Studios, a single copy of the script may exist. As Hope’s fame and clout grew, he won the right to have his personal staff of writers “punch up” the scripts, and their joke material is usually included. Hope eventually graduated to self-producing several of his own films later in his career, and these files may include correspondence, publicity material, production memos, and numerous script revisions. A quick word on the principle of original order – it’s the idea that the archivist respects the collection creators’ organizational principles, unless a case can be made for altering it. In the case of the films, Hope’s staff consistently organized the files, both in the papers and the photo archive, alphabetically by title, and this is maintained within the collection.

Bob Hope looking at files in his office. Bob Hope Collection. 

130 linear feet of the collection is devoted to the television files, containing scripts, writers’ material, production memos, correspondence, etc., for all of Hope’s TV specials. Chronologically, this ranges from his appearance on the very first commercial broadcast on the west coast in 1947, to his final shows in the 1990’s. Notes concerning principal guest stars and production locations outside of Hollywood are given where known. Included are files for all of Hope’s overseas USO tours from 1950 onwards, as these tie directly to the television specials which resulted from them.  It also includes scores of television guest appearances, whether scripted shows, interview programs, telethons, or awards show such as the Oscars. A small subseries consists of scripts for the mid-1960’s program Bob Hope presents the Chrysler Theatre, an anthology series of comedies and dramas introduced by (and occasionally featuring) Hope.

Bob Hope with Marjorie Hughes looking at script files in vault. Bob Hope Collection.

A related 16 linear foot series of material consists of scripts, treatments, and proposals for numerous unproduced films and television series. Some of the projects eventually morphed into realized productions, while others were eventually abandoned. Some of the more interesting projects included attempts to produce biopics of Walter Winchell and Rocky Marciano, as well an eighth Road picture with Bing Crosby (and briefly, George Burns). Several proposals for situation comedies are included.

The radio series consists of 61 linear feet of material from Hope’s more than twenty year career in radio. Included are scripts from Hope’s early shows, such as The Intimate Revue and The Atlantic Family. The real heart of this series is the ten year run of The Pepsodent Show starring Bob Hope (1938-1948), a creative and cultural peak for this phase of Hope’s career. The material for the Pepsodent Show was originally organized into separate files, one consisting of just the scripts, and one containing the sketch material. It was decided to integrate these two files into one, so that all of the material for a given episode would be collocated together.

Marjorie Hughes and Bernadette Kinney filing scripts and transcription discs. Bob Hope Collection. 

Bob’s subsequent shows through 1956, including the two year run of his daily morning series, fill out the remainder of the radio files. Material is generally arranged chronologically by episode, with notes on principle guests stars added as an aid to searching. An appendix to this series consists of 2.5 linear feet of scripts from numerous radio plays that Hope performed in, on such series as Lux Radio Theatre and Screen Directors Playhouse. Left out of the radio files are Hope’s numerous guest appearances as himself on other radio programs, such as Bing Crosby’s shows or the numerous patriotic and charity broadcasts Hope featured on during World War II. These scripts were filed in the personal appearance files (discussed below), and it was decided to maintain them in that series.

The personal appearance series contains a 106 linear feet of material from Hope’s numberless live performances, camp shows, benefits, graduation and awards ceremonies, golf tournaments, and even vacations. In additional to Hope’s joke, monologue, and speech materials, typical files include correspondence, press releases, and even research about the community, organization, or event.  As stated above, it also contains Hope’s radio guest appearances through the early 1950s, but not his guest spots on TV, in accord with the existing organizational scheme.

Bob Hope with Joke Files.  Bob Hope Collection.

Finally, there’s the joke file itself, a 40 linear foot run of reproductions culled from the material in the series described above, and rearranged according to subject matter. Through this file, Hope’s staff could repurpose decades worth of material – an important tool for a comedian who specialized in topical humor. The main run surveys jokes from across Hope’s career, but a small subset consists of a gag file that was compiled sometime in the late 1930s, providing an interesting look at topics that recurred in Hope’s comedy in those early days. A parallel run consists of “unchecked” jokes–material that didn’t make the cut but was kept around for future consideration.

I encourage researchers who are interested in all of these creative outputs of Hope’s career to contact the Recorded Sound Research Center.


Mon, 02 Jul 2018 11:13:51 +0000
Bob Hope Collection Update
The following is a guest post by David Jackson, Archivist, Bob Hope Collection, Packard Campus for Audio Visual Conservation. I’m entering the home stretch of my project to process the manuscript materials in the Bob Hope Collection and wanted to present a brief look at what’s now available for researchers. Processed material has been entered […]

The following is a guest post by Jenny Paxson of the Packard Campus.

Joan Baez

Friday, July 6 (7:30 p.m.)
Fifty Years of Folk Music, 1965-2015
Utilizing the Library of Congress Video archives, this program features Folk musicians from the television programs Rainbow Quest (1965-1966), independently produced and hosted by Pete Seeger; The Smothers Brothers Comedy Hour (CBS, 1967-1969); The Ed Sullivan Show (CBS 1948 – 1971); Soul! (WNET 1967-1973); Austin City Limits (PBS 1976-present); Soundstage (WTTW 1974-1985 and 2003 – present), and The Dick Cavett Show (ABC 1969-1975). Performers include Bob Dylan, Joan Baez, Doc Watson, Pete Seeger, Buffy Sainte Marie, Donovan, The Stanley Brothers, Judy Collins, Mississippi John Hurt, Simon and Garfunkel, Bobbie Gentry, Richie Havens, Crosby, Stills and Nash, Joni Mitchell, Paul Simon, James Taylor, Bill Withers, Neil Young, Jackson Browne, Townes Van Zandt, Eric Anderson, Leonard Cohen, John Prine, Richard Thompson, Alison Krauss & Union Station, Steve Earle, Jason Isbell and Wilco. 105 min.

Saturday, July 7 (2 p.m.)
Space Jam (Warner Bros., 1996)
An all-star ensemble comedy featuring Looney Tunes characters including Bugs Bunny and Daffy Duck enlist Michael Jordan to help them win a basketball match against a group of aliens who want to enslave them for their amusement park. Produced by Ivan Reitman and directed by Joe Pytka, this family adventure film combines live action with animation. Playing themselves are Bill Murray as Jordan’s friend and a number of pro basketball players such as Larry Bird, Charles Barkley, Patrick Ewing, Shawn Bradley, Larry Johnson and Muggsy Bogues. Rated PG, 88 min. 35mm archival print.

Darby’s Rangers (Warners Bros., 1958)

Saturday, July 7 (7:30 p.m.)
Darby’s Rangers (Warner Bros., 1958)
James Garner stars as Col. William Orlando Darby, who organized and led the first elite strike force of the United States Army Rangers during World War II. Based on the actual events described in the 1945 book Darby’s Rangers: An Illustrated Portrayal of the Original Rangers by Major James J. Altieri, himself a veteran of Darby’s force, the action-packed drama was directed by William Wellman whose other WWII classics include Story of G.I. Joe (1945) and Battleground (1949). Also in the cast are Etchika Choureau, Jack Warden, Edward Byrnes, Stuart Whitman and Murray Hamilton. The film is being shown in commemoration of the 75th anniversary of the Allied invasion of Sicily in which the Allies took the island from the Axis powers of Italy and Nazi Germany. It was shot by Warner Bros. in black and white to match wartime stock footage woven into the film. 121 min. 35mm archival print.

For more information on our programs, please visit the website at: www.loc.gov/avconservation/theater/.


Wed, 27 Jun 2018 12:30:13 +0000
Now Playing at the Packard Campus Theater (July 6-7, 2018)
The following is a guest post by Jenny Paxson of the Packard Campus. Friday, July 6 (7:30 p.m.) Fifty Years of Folk Music, 1965-2015 Utilizing the Library of Congress Video archives, this program features Folk musicians from the television programs Rainbow Quest (1965-1966), independently produced and hosted by Pete Seeger; The Smothers Brothers Comedy Hour […]

 

Studs Terkel winding up for a pitch

Studs Terkel

In conjunction with the Library of Congress’s new Baseball Americana, opening June 29th, this special event explores the intersection of the Library, the Studs Terkel Radio Archive and baseball. The collaboration is an outgrowth of the Library’s work to digitize Studs’ radio programs spanning his 45-year broadcast career.

Filmmaker John Sayles, actor David Strathairn, and director Derek Goldman present an afternoon of baseball with Studs Terkel Radio Archive representatives Tony Macaluso and Allison Schein Holmes, joined by Matthew Barton, Curator of Recorded Sound at the Library of Congress. They’ll celebrate the words and voices of America’s pastime in all its complex glory, from halcyon memories of childhood heroes to the corruption of the Black Sox Scandal. Sayles and Strathairn will reflect on their experience working with Terkel on the film Eight Men Out (1988), in which Terkel acted, and will interweave that experience with voices from the recently-launched Terkel Radio Archive, and live performances of classic baseball writing. The Studs Terkel Radio Archive is currently undergoing digitization by the Library of Congress, and is managed by the WFMT Radio Network and the Chicago History Museum.

photograph of John Sayles

John Sayles

Photograph of David Straithern

David Straithern

Monday July 2, 2018 1:00 pm to 3:00 pm

Mumford Room, Madison Building
Library of Congress
101 Independence Ave., S.E.

Metro stop to the Library is Capitol South (orange/blue lines). Capitol South is located diagonally across the street from the James Madison Building.

FREE AND OPEN TO THE PUBLIC

Sponsored by the Motion Picture, Broadcasting and Recorded Sound Division.

Details: Recorded Sound Reference (202) 707-7833

Request ADA accommodations five days in advance at (202) 707-6362 or ADA@loc.gov.


Mon, 25 Jun 2018 11:12:50 +0000
Talking Baseball and America with the Spirit of Studs Terkel

Mon, 18 Jun 2018 11:09:33 +0000
The Packard Campus Theater will be closed June 28-30, 2018

 The following is a guest post by Jenny Paxson of the Packard Campus.

Thursday, June 21 (7:30 p.m.)
Fear Strikes Out (Paramount, 1957)
Anthony Perkins stars in this biographical drama based on the autobiography by James A. Piersall, the former outfielder and shortstop for the Boston Red Sox, and his co-author Albert S. Hirshberg. The film is less about Piersall’s brilliant, though erratic, career and more about his struggle against bipolar disorder. Fear Strikes Out was one of the first films to depict mental illness as something that could strike anyone and was unflinching in its portrayal of a father (Karl Malden) whose ambition was so great that he drove his own son to a mental collapse. The film is equally important as the feature directing debut of Robert Mulligan and the feature producing debut of Alan J. Pakula. It was a collaboration that led to their successful teaming on six more features together including To Kill a Mockingbird (1962) before they both went on to extremely successful solo careers. 100 min. 35 mm archival print.

The Natural (Columbia, 1984)

Friday, June 22 (7:30 p.m.)
The Natural (Columbia, 1984)
Robert Redford stars as Roy Hobbs, a 35-year-old rookie with a mysterious past who soon becomes the star player of the 1939 New York Knights. Barry Levinson directed the baseball drama based on the novel by Bernard Malamud. The Natural was nominated for four Academy Awards, including Best Supporting Actress (Glenn Close as Hobb’s first love Iris Gaines), Best Cinematography (Caleb Deschanel) and Best Music Score (Randy Newman). Newman won a Grammy for Best Instrumental Composition for The Natural. Many of the baseball scenes were filmed in Buffalo, New York’s War Memorial Stadium, built in 1937 and demolished a few years after the film was produced. Rated PG, 138 min. 35 mm archival print.

Saturday, June 23 (2 p.m.)
Angels in the Outfield (Disney, 1994)
Roger (Joseph Gordon-Levitt) is a foster child whose recently-widowed and irresponsible father (Dermot Mulroney) sardonically promises that they can live as a family again when Roger’s favorite baseball team, the perpetually losing California Angels, wins the pennant. Roger’s prayers to turn the team around are answered when a real angel (Christopher Lloyd) and a band of his colleagues perform a few miracles on the field. Danny Glover plays the team’s skeptical manager with Tony Danza, Adrien Brody and Matthew McConaughey in the cast as members of the California Angels team. Also in supporting roles are Ben Johnson and Brenda Fricker. Updated from the 1951 film of the same name, Angels in the Outfield takes liberties with the original to bring the sentimental values to a modern setting. Rated PG, 102 min. 35 mm archival print.

42 (Columbia, 2013)

Saturday, June 23 (7:30 p.m.)
42 (Warner Bros., 2013)
This critically acclaimed biopic focuses on the relationship between legendary baseball star Jackie Robinson (Chadwick Boseman) and Brooklyn Dodgers general manager Branch Rickey (Harrison Ford), who signed Robinson to the team in 1947, breaking Major League Baseball’s infamous color line that had existed in professional baseball since the 1880s. The contract subjected both Robinson and Rickey to condemnation from the public, the press and even other players. Facing blatant racism from every side, Robinson was forced to demonstrate tremendous courage and restraint by not reacting in kind, knowing that any incident could destroy his and Rickey’s hopes. Instead, Number 42 let his talent on the field do the talking–ultimately winning over fans and his teammates, silencing his critics, and paving the way for others to follow. Robinson was inducted into the Baseball Hall of Fame in 1962. In 1997, baseball commissioner Bud Selig universally retired Jackie Robinson’s number, 42. Rated PG-13, 128 min. 35 mm archival print.

The Packard Campus Theater will be closed June 28 – June 30.

For more information on our programs, please visit the website at: www.loc.gov/avconservation/theater/.


Fri, 15 Jun 2018 06:05:41 +0000
Now Playing at the Packard Campus Theater (June 21-24, 2018)

Tue, 12 Jun 2018 11:52:21 +0000
A Report from Mostly Lost 7: Help Us Identify These Films!
The following is a guest post from Rachel Parker, a Processing Technician in the Moving Image Section.


At the Packard Campus–July 2018
The Library of Congress Packard Campus Theater in Culpeper celebrates the season with Summer Matinees every Saturday in July. Although geared toward families, the G and PG rated films (Space Jam, Lilo & Stitch, Oliver and Company and Willy Wonka and the Chocolate Factory) can be enjoyed by everyone. In addition to 2 pm screenings, […]
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Booking.com B.V. is based in Amsterdam in the Netherlands. Ready for some statistics? Our 1,534,024 properties, including 860,482 holiday rentals, are located in 123,105 destinations in 229 countries and territories, and are supported internationally by 198 offices in 70 countries.
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