Popular Entertainment

This Museum's popular entertainment collections hold some of the Smithsonian's most beloved artifacts. The ruby slippers worn by Judy Garland in The Wizard of Oz reside here, along with the Muppet character Kermit the Frog, and props from popular television series such as M*A*S*H and All in the Family. But as in many of the Museum's collections, the best-known objects are a small part of the story.

The collection also encompasses many other artifacts of 19th- and 20th-century commercial theater, film, radio, and TV—some 50,000 sound recordings dating back to 1903; posters, publicity stills, and programs from films and performances; puppets; numerous items from World's Fairs from 1851 to 1992; and audiovisual materials on Groucho Marx, to name only a few.

Mounted gelatin silver print of Will Connell's "Cutter," one of a series of photographs taken for "In Pictures," Connell's satirical 1937 book about the Hollywood film industry. The photograph shows a sinister-looking man editing film with a pair of scissors.
Description (Brief)
Mounted gelatin silver print of Will Connell's "Cutter," one of a series of photographs taken for "In Pictures," Connell's satirical 1937 book about the Hollywood film industry. The photograph shows a sinister-looking man editing film with a pair of scissors. This photograph was reprinted in Connell's 1957 book "About Photography," where the author captioned the image "The father of the 'face on the cutting room floor,' the Cutter becomes naturally diabolical, because of the illuminated viewing box, a legitimate tool of his trade."
Description
Will Connell (1898-1961) was an influential photographer, teacher and author in Southern California known for his often-satirical “modern pictorialist” style, commercial photography work and mentorship of a generation of photographers. The National Museum of American History’s Photographic History collection received a donation of 11 prints of various subjects from Connell’s wife in 1963. This donation was followed by another, from Connell’s son, in 1977, comprised of the 49 prints published in In Pictures.
Connell was born in McPherson, Kansas, but moved to California soon after. As a young man in Los Angeles, Connell came into contact with the thriving California camera clubs of the 1910s and 1920s, and more importantly, the burgeoning Hollywood film industry. After a brief stint in the U.S. Army Signal Corps at the end of the first World War, Connell worked a variety of odd jobs while experimenting in amateur photography. Several motion picture studios hired Connell to photograph actors and actresses in the 1920s and 1930s, and he soon became a professional.
Connell’s glamour shots of stars such as Myrna Loy, as well as his growing body of art photography, reveal pictorialist influence, and his work was often exhibited at salons and exhibitions throughout the United States. In the 1930s, Connell began working as a photographer for magazines including the Saturday Evening Post, Colliers, Time and Vogue, started teaching photography at Art Center College and continued work at the Los Angeles studio he opened in 1925. Connell spent the rest of his life in Los Angeles, teaching, judging work, producing commercial work and writing, notably, his "Counsel by Connell" column in US Camera, which he authored for 15 years.
His first book, In Pictures, was published in 1937. Now considered a classic work of satire, the book featured montaged, often surreal images that mocked the Hollywood studio system and a public enamored with the motion picture industry. The photographs were published alongside a fictional account of a meeting of Hollywood moguls, written by several of Connell’s friends in the business. While the images appear to be a marked departure from Connell’s earlier soft-focus pictorialism, the sharp, poignant photographs nevertheless retain that movement’s emphasis on composition and communication of a message. In Pictures also pays homage to the film industry where the photographer cut his teeth – many of the images feature close-ups, characteristic stage lighting and influence of the glamour of Hollywood’s Golden Age.
Connell, in his work and teaching until his death in 1961, is cited as an influence on an entire generation of photographers, including Dr. Dain Tasker (COLL.PHOTOS.000031). His 1949 book About Photography outlined an artistic philosophy that stressed a straight-forward, communicative style of photography and expressed the author’s belief that even the most commercial work can have artistic merit. A 1963 monograph in US Camera featured fond remembrances from friends Ansel Adams and Dorothea Lange, among others, who praised Connell for his warm personality and unique work.
Related Collections:
Dain Tasker collection, Photographic History Collection, NMAH
Will Connell collection, California Museum of Photography, University of California, Riverside, California
Will Connell papers, University of California, Los Angeles, Los Angeles, California
Los Angeles County Museum of Art, Los Angeles, California
Art Center School Archives, Pasadena, California
Location
Currently not on view
date made
ca 1937
maker
Connell, Will
ID Number
PG.77.94.42
accession number
1981.0549
catalog number
77.94.42
date made
1957
depicted (sitter)
Monroe, Marilyn
maker
Avedon, Richard
ID Number
PG.67.102.001
catalog number
67.102.1
accession number
270571
Forty-five short lengths of motion picture film created by August Plahn.
Description (Brief)
Forty-five short lengths of motion picture film created by August Plahn. The majority of this film is perforated 66mm nitrate motion picture film made by Plahn in his work on subtractive color motion picture filming and exhibition, but there are a few strips of 35mm film used in experimentation and one 9.5mm "home movie" in the collection.
Description
The Early Color Cinema Equipment Collection [COLL.PHOTOS.000039] includes equipment, media and ephemera related to color motion pictures from the birth of the cinema to the mid twentieth century. This collection is comprised of 5 motion picture cameras, 3 movie projectors, more than 34 pieces of editing and other apparatus, more than 60 pieces of early color film and two notebooks illustrating the Technicolor process.
Reproducing natural color on film had been an industry goal since the earliest days of motion picture production, but it took several decades to perfect a technology for making movies in color. Motion picture directors often toned or hand-tinted monochromatic film in the industry’s early days to add life and emotion to their productions. Though movie producers continued to use toning and tinting, these costly and inefficient processes could never produce the full range of color that movie cameras failed to record. Therefore, innovators increasingly focused on the use of color filters during capture and projection to reproduce color detail.
Danish-American inventor August Plahn built and patented a camera and projector that split motion picture images through three color lenses using 70mm film. When the film, with three images printed across its width, was projected through the same colored filters, movies’ natural color was restored. The collection includes forty five short lengths of processed film and documents related to Plahn’s work as well as one camera, three projector heads and over seventy-five pieces of apparatus used by the engineer.
While Plahn had little success marketing his inventions, the Boston-based Technicolor Corporation effectively marketed their similar technology to become the industry standard. The color cinema collection includes four Technicolor cameras as well as over twenty-five pieces of equipment related to the Technicolor process and a book of photographs illustrating Technicolor film processing in a train car.
The Society of Motion Picture Engineers, the industry’s leading trade group, donated examples of a number of other early color film technologies, including Prizma, Kelley-line screen, Krayn Screen, Naturalcolor, Multicolor and Morgana color processes.
This finding aid is one in a series documenting the PHC’s Early Cinema Collection [COLL.PHOTOS.000018]. The cinema-related objects cover the range of technological innovation and popular appeal that defined the motion picture industry during a period in which it became the premier form of mass communication in American life, roughly 1885-1930. See also finding aids for Early Sound Cinema [COLL.PHOTOS.000040], Early Cinema Equipment [COLL.PHOTOS.000037], Early Cinema Film and Ephemera [COLL.PHOTOS.000038] and the Gatewood Dunston Collection [COLL.PHOTOS.000021].
maker
Plahn, August
ID Number
PG.71.06.61
catalog number
2008.0095.086
accession number
2008.0095
Currently not on view
Location
Currently not on view
photographer
Regan, Ken
ID Number
2014.0112.268
catalog number
2014.0112.268
accession number
2014.0112
Currently not on view
Location
Currently not on view
photographer
Regan, Ken
ID Number
2014.0112.197
catalog number
2014.0112.197
accession number
2014.0112
Currently not on view
Location
Currently not on view
photographer
Bull, Clarence
ID Number
2014.0112.429
catalog number
2014.0112.429
accession number
2014.0112
Currently not on view
Location
Currently not on view
date made
1921
ID Number
2013.0327.1348
accession number
2013.0327
catalog number
2013.0327.1348
Currently not on view
Location
Currently not on view
photographer
Regan, Ken
ID Number
2014.0112.439
catalog number
2014.0112.439
accession number
2014.0112
Currently not on view
Location
Currently not on view
date made
1932
ID Number
2014.0112.397
catalog number
2014.0112.397
accession number
2014.0112
Currently not on view
Location
Currently not on view
date made
1969-06
photographer
Regan, Ken
ID Number
2014.0112.208
catalog number
2014.0112.208
accession number
2014.0112
Currently not on view
Location
Currently not on view
depicted (sitter)
Caesar, Sid
Coca, Imogene
photographer
Regan, Ken
ID Number
2014.0112.466
catalog number
2014.0112.466
accession number
2014.0112
Currently not on view
Location
Currently not on view
date made
1928
ID Number
2013.0327.1379
accession number
2013.0327
catalog number
2013.0327.1379
Currently not on view
Location
Currently not on view
date made
1914
ID Number
2013.0327.1385
catalog number
2013.0327.1385
accession number
2013.0327
Currently not on view
Location
Currently not on view
date made
1905
ID Number
2013.0327.1374
accession number
2013.0327
catalog number
2013.0327.1374
Currently not on view
Location
Currently not on view
date made
1920
ID Number
2013.0327.1360
accession number
2013.0327
catalog number
2013.0327.1360
Currently not on view
Location
Currently not on view
date made
1905
ID Number
2013.0327.1390
catalog number
2013.0327.1390
accession number
2013.0327
Currently not on view
Location
Currently not on view
photographer
Regan, Ken
ID Number
2014.0112.459
catalog number
2014.0112.459
accession number
2014.0112
Currently not on view
Location
Currently not on view
photographer
Schwarz, Ira
ID Number
2014.0112.402
catalog number
2014.0112.402
accession number
2014.0112
Currently not on view
Location
Currently not on view
date made
ca 1930
depicted (sitter)
Wynn, Ed
photographer
Bull, Clarence
ID Number
2014.0112.428
catalog number
2014.0112.428
accession number
2014.0112
Currently not on view
Location
Currently not on view
date made
1915
ID Number
2013.0327.1351
accession number
2013.0327
catalog number
2013.0327.1351
Currently not on view
Location
Currently not on view
date made
1928
ID Number
2013.0327.1371
accession number
2013.0327
catalog number
2013.0327.1371
Currently not on view
Location
Currently not on view
date made
ca 1923
ID Number
2014.0112.425
catalog number
2014.0112.425
accession number
2014.0112
Currently not on view
Location
Currently not on view
date made
1936-11-03
depicted (sitter)
Farley, James A.
Dempsey, Jack
maker
Acme Photo
ID Number
2013.0327.1272
accession number
2013.0327
catalog number
2013.0327.1272
Currently not on view
Location
Currently not on view
depicted (sitter)
Miller, Henry
photographer
Schwarz, Ira
ID Number
2014.0112.418
catalog number
2014.0112.418
accession number
2014.0112

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