![]() Because most of these prints do still move, and how: the aforementioned 35mm print of Meet John Doe has been loaned to over two-dozen film festivals and cinematheques around the world in the past 15 years.* An even more well-known and beloved title like John Ford’s Stagecoach (1939), which the Archive preserved in the early 1980s, has been loaned out for screenings internationally an estimated 200 times, making this popular Western one of the most mobilized 35mm prints of our collection. Obviously, upon acquisition and integration into an archive, the stabilization of these celebrated materials does not inevitably lead to their stagnation. Notably, for an upcoming 10-film celebration on the occasion of a forthcoming book by Victoria Riskin about her parents, actress Fay Wray (you know her from the original King Kong (1933) and screenwriter and frequent Frank Capra collaborator Robert Riskin, I am relieved to find that two of the titles are right under my nose: Capra’s Riskin-penned Meet John Doe (1941) and the Wray-starring The Most Dangerous Game (1932), both which came to us as part of a large Warner Brothers acquisition in 1976. I kick myself when I discover that a print for which I’ve been searching is housed unassumingly within our vaults. ![]() As a film programmer and curator working for the largest university-based archive in the world, I never forget my privilege of access to UCLA Film & Television Archive's embarrassment of riches: over 220,000 film and television titles, nearly half of which I can access for screenings at our primary venue, the Billy Wilder Theater at the Hammer Museum.Īs a matter of course, our catalog is the first I consult before I widen my search to studio holdings, other university archives, and the vast and sometimes mysterious network of private collectors.
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