Browse Screen Arts Collection Finding Aids
There are 21 Special Collections Research Center finding aids online
|Creator / [Collection date]||Collection information|
|Rudolph, Alan,, 1943-; Rudolph, Joyce / [1972 - 2011]||
Title: Alan and Joyce Rudolph Papers (1972 - 2011)
Extent: 35 Linear Feet (57 manuscript boxes and 7 flat oversize boxes)
Abstract: The Rudolph papers include scripts, articles and clippings, publicity and press materials, books, photographs, artifacts/realia, audio and moving image materials, posters, awards, and branded crew garments and caps from many of Alan Rudolph's projects. Photographer Joyce Rudolph is represented by hundreds of professional and personal slides and photographs, including many candid on-set shots.
|Campbell, Alan, 1905-1963; Parker, Dorothy, 1893-1967 / [1930-1949]||
Title: Alan Campbell and Dorothy Parker Collection (-1949, bulk 1938-1946 )
Extent: 2 boxes, 1.25 linear feet
Abstract: Alan Campbell , American actor and screenwriter, wrote, with his wife Dorothy Parker, screenplays for Hollywood studios during the 1930s. The collection contains the correspondence and writings of Alan Campbell and Dorothy Parker. Included is World War II correspondence, scripts, screenplays, fragments of several short stories, a play, as well as typescripts of pieces by some of Campbell and Parker's contemporaries.
|Cooper, Hal, 1923- / [1938-2003]||
Title: Hal Cooper Papers (1938-2003, bulk 1970-1990)
Extent: 12 linear feet
Abstract: The Hal Cooper Papers consists of 48 scripts for television shows that he directed and sometimes produced, including the Dick Van Dyke Show, Death Valley Days, The Courtship of Eddie's Father, Mayberry RFD, and That Girl. He was most known for his work with I Dream of Jeannie (1965-69), and Maude (1972-78). The scripts detail the development of the sitcom in the television industry. Additional material includes an extensive oral history interview and material that relates to the sitcoms, as well as to Hal Cooper’s early career and the career of his first wife, Pat Meikle.
|Deutchman, Ira / [1967-2016]||
Title: Ira Deutchman Papers (1967-2016)
Extent: 53.00 Linear Feet (100 Manuscript Boxes, 2 Record Center Boxes, 2 oversize boxes, and 1 small box, 54 oversize folders)
Abstract: The Ira Deutchman Papers represent the creator's ongoing career in the film industry, including his personal interests, teaching, and work as a production company executive for Cinecom and Fineline Features as well as work with directors John Sayles, Alan Rudolph, and Robert Altman. The collection includes extensive catalogs and programs from film conferences and festivals around the world.
|Sayles, John, 1950- / [1959-2013]||
Title: John Sayles Papers (1959-2013)
Extent: 222.0 Linear feet (186 record center, 13 manuscript, 7 flat oversize boxes, and 7 oversize folders)
Abstract: The John Sayles Papers consists of documents, images, artwork and graphic material related to the noted filmmaker's life and career. Also included are the papers of Sayles' partner and producer, Maggie Renzi.
|Welles, Orson, 1915-1985; Tasca di Cutò, Alessandro, 1906-2000 / [1947-1995]||
Title: Orson Welles - Alessandro Tasca di Cutò Papers (1947-1995, bulk 1964)
Extent: 7.0 Linear feet (2 record center boxes, 4 oversize boxes, and 1 portfolio)
Abstract: The Orson-Welles and Alessandro Tasca di Cutò papers reflect the working and personal relationship between Orson Welles and Alessandro Tasca di Cutò. He was a producer for many of Orson Welles’s films, but two were especially significant for Orson Welles: The Chimes at Midnight (also known as Falstaff, 1965) and Don Quixote (1955-73, unfinished). In both cases, Welles shot the material over a period of years, and on a shoestring budget. The majority of the archive consists of an assortment of letters, handwritten notes, and telegrams that Welles sent to Tasca di Cutò concerning the day-to-day working needs of the filmmaker.
|Welles, Orson, 1915-1985; Feder, Chris Welles / [1931-2009]||
Title: Orson Welles - Chris Welles Feder Collection (1931-2009)
Extent: 2.0 Linear feet (1 record center box and 1 oversize box)
Abstract: The Orson Welles-Chris Welles Feder Collection is an assortment of material on Orson Welles collected by his eldest daughter Chris Welles Feder. She was born Christopher Welles in 1938 to Orson Welles and Virginia Nicolson Welles. The collection includes letters written by Orson Welles to his first wife, Virginia Nicolson, and family photographs. Also included are clippings and articles, audiovisual materials such as movies or TV shows dedicated to Orson Welles, and miscellaneous material such as postcards, exhibition programs, and catalogs. The collection has five series: Correspondence, Clippings and Articles, Photographs, Audiovisual, and Miscellaneous.
|Welles, Orson, 1915-1985; Kodar, Oja / [1910-2000]||
Title: Orson Welles - Oja Kodar Papers (1910-2000, bulk 1965-1985)
Extent: 41.5 Linear feet (27 record center boxes, 15 manuscript boxes, 4 flat oversize boxes, and 1 oversize drawer )
Abstract: The Orson Welles – Oja Kodar Papers includes scripts, production documents, photographs, and other materials from Orson Welles's work in film and other media. General correspondence, topical files, papers related to Oja Kodar, and personal materials also make up a portion of collection. The bulk of the papers date from the 1960s to the 1980s with a smaller amount of material from the 1930s-1950s. The Additions to the Welles-Kodar Papers series, acquired in 2015, complements the scripts, correspondence and photographs already held, but also include annotated typescripts of drafts for a planned memoir, additional on-the-set photographs from films, television, and other projects, personal photographs, and documents from collaborations between Welles and Kodar.
|Welles, Orson, 1915-1985 / [1966-1975]||
Title: Orson Welles Dead Reckoning/The Deep Papers (1966-1975, bulk 1967-1971)
Extent: 1.0 Linear feet (1 record center box)
Abstract: The papers, originally from the files of Orson Welles's London agent, Bill Cronshaw, consists of film clippings, film rolls, and photographs; production and post-production notes and schedules; portions of the script (some annotated by Welles); business and and financial materials; and correspondence related to the film "Dead Reckoning, later, "The Deep." A limited amount of miscellaneous materials not associated with the film are also included.
|Wilson, Richard, 1915-1991; Welles, Orson, 1915-1985 / [1930-2000]||
Title: Richard Wilson - Orson Welles Papers (1930-2000, bulk 1930-1991 )
Extent: 61 boxes, 2 oversize drawers (approximately 63 linear feet)
Abstract: The collection includes business and personal correspondence, production materials, scripts, photographs, motion picture, and sound recordings related to Richard Wilson and Orson Welles's work in radio, theater, and film from the 1930s to the 1950s. Also included are materials related to each man's later solo careers and personal life.
|Altman, Robert, 1925-2006 / [1969-2007]||
Title: Robert Altman Archive: Business and Financial Records, Legal Series and Chronological Files, 1969-2007 (1969-2007)
Extent: 105.5 linear feet.
Abstract: Forms part of Robert Altman Archive. Includes Business and Financial records and a Chronological series (30 linear feet) that includes daily logs and correspondence for many of Robert Altman's production companies.
|Altman, Robert, 1925-2006 / [1984, 2001-2005]||
Title: Robert Altman Archive: Commercials (1984, 2001-2005)
Extent: 1.3 linear feet.
Abstract: Forms part of the Robert Altman Archive. The Commercials series (1 linear foot) includes materials from Robert Altman's commercial production company, Villains. These materials consist of scripts, storyboards, correspondence, and production notebooks.
|Altman, Robert, 1925-2006 / [2007-2008]||
Title: Robert Altman Archive: Other Projects and Scripts (2007-2008)
Extent: 6 linear feet.
Abstract: Forms part of the Robert Altman Archive. The Other Projects series (6 linear feet) consists of scripts sent to Robert Altman for consideration as potential film projects. Frequently, Wren Arthur, Altman's assistant, would read and critique these materials, and serve as the contact person for the individual submissions. The material is generally from 1989 to 2003, and arranged by author's last name. Where possible, a submission date is noted.
|Altman, Robert, 1925-2006 / [1945-2007]||
Title: Robert Altman Archive: Personal Files and Early Projects (1945-2007)
Extent: 20 linear feet.
Abstract: Forms part of the Robert Altman Archive. The Robert Altman Personal series (14 linear feet, 3 oversized boxes) ranges in date from 1945-2007. The series includes correspondence, legal, and medical documents, topical and award-related material, early work, interviews and clippings, as well as photographs. The Early Projects series contains assorted materials from early projects including movies, TV, commercials, and short films (1 linear foot and 1 oversized box). Forms part of the Robert Altman Archives.
|Altman, Robert, 1925-2006 / [1968-1970]||
Title: Robert Altman Archive: Projects - 1960s (1968-1970)
Extent: 1.5 Linear Feet
Abstract: Forms part of the Robert Altman Archives. The Countdown series (.25 linear feet) consists of materials from the 1968 film directed by Robert Altman. The series includes a script, articles and reviews, photographs, contact sheets, negatives and transparencies That Cold Day in the Park series (.5 linear feet and 1 oversized box) consists of materials from the 1969 film directed by Robert Altman. The series includes legal materials, a script, publicity and distribution files, articles and reviews, on-the-set photographs, contact sheets, negatives and slides.
|Altman, Robert, 1925-2006 / [1971-1977]||
Title: Robert Altman Archive: Projects - 1970s (1971-1977)
Extent: 47 linear feet.
Abstract: Forms part of the Robert Altman Archive. Includes materials related to films Brewster McCloud, Buffalo Bill and the Indians or Chief Sitting Bull's History Lesson, The California Split, Images, The Late Show, The Long Goodbye, Mash, McCabe and Mrs. Miller, Nashville, A Perfect Couple, The Quintet, Remember My Name, Rich Kids, Thieves Like Us, 3 Women, A Wedding, and Welcome to L.A.. Records include scripts, legal files, publicity materials, photographs and correspondence.
|Altman, Robert, 1925-2006 / [1980-1990]||
Title: Robert Altman Archive: Projects - 1980s (1980-1990)
Extent: 46 linear feet.
Abstract: Forms part of Robert Altman Archive. Includes materials related to films Aria, Basements, Beyond Therapy, The Caine Mutiny Court Martial, Come Back to the Five and Dime Jimmy Dean, Jimmy Dean, Fool for Love, HealtH, Images, Laundromat, O.C, and Stiggs, Popeye, Rake's Progress, Secret Honor, Streamers, Tanner '88, Two by South, Records include scripts, legal files, publicity materials, photographs and correspondence.
|Altman, Robert, 1925-2006 / [1990-1997]||
Title: Robert Altman Archive: Projects - 1990s (1990-1997)
Extent: 205 linear feet.
Abstract: Forms part of Robert Altman Archive. Includes materials for films The Afterglow, Black and Blue, Cookie's Fortune, The Gingerbread Man, Gun, Kansas City, McTeague, Mrs, Parker and the Vicious Circle, The Player, Pret-a-Porter, and Robert Altman's Jazz '34: Remembrances of Kansas City Swing,. Records include scripts, legal files, publicity materials, photographs and correspondence.
|Altman, Robert, 1925-2006 / [1999-2006]||
Title: Robert Altman Archive: Projects - 2000s (1999-2006)
Extent: 103 linear feet.
Abstract: Forms part of the Robert Altman Archive. Includes materials related to The Company, Dr. T and the Women, Gosford Park, A Prairie Home Companion, Resurrection Blues, Roads and Bridges, Tanner on Tanner, andTrixie . Records include scripts, legal files, publicity materials, photographs and correspondence.
|Altman, Robert, 1925-2006 / [1960s-2000s]||
Title: Robert Altman Archive: Unfinished or Suspended Projects (1960s-2000s)
Extent: 34.5 linear feet.
Abstract: Forms part of the Robert Altman Archive. Documentation related to unfinished and suspended projects, 1960s-2000s, that Altman had an involvement with but were never produced. Materials for a project may include correspondence, legal and financial files, scripts and publicity files.
|Shaye, Robert / [1958-2008]||
Title: Robert Shaye-New Line Cinema Papers (1958-2008)
Extent: 5.5 Linear feet (4 records boxes, 1 manuscript box, 2 oversize boxes)
Abstract: Robert Shaye founded New Line Cinema in 1967. The company began by distributing foreign, kitsch and art house films to college campuses and eventually grew to distribute and produce films in the Hollywood industry. The archive consists of five series: Personal, Business Documents, Projects, Articles and Clippings, and Audiovisual Materials. The documents range in date from 1958-2008.