by MEGAN BARNARD
We are delighted to welcome Jenny Romero, who recently joined the Ransom Center as our new Robert De Niro Curator of Film. Romero previously worked for more than two decades for the Academy of Motion Picture Arts and Sciences in a variety of roles, including as Head of Reference and Public Services for the Academy’s Margaret Herrick Library. She received a B.A. in Film and Latin American Studies from Vassar College, and an M.A. in Film Studies with Film Archiving from the University of East Anglia.
Her extensive experience and passion for making film archives and film history accessible to students, scholars, and the public shine through as she discusses the journey that led her to the Ransom Center.
What inspired your love of film?
As a child growing up in El Paso, I had the good fortune to be taught by the legendary dance educator Rosa Guerrero. Although we focused primarily on Mexican ballet folklórico, we learned an array of dances representing what she referred to as our “tapestry of cultures.” My experience as one of her pupils and as a member of her dance troupe really set the framework for my enormous appreciation for and interest in other languages and cultures and their expression through popular art forms.
At the same time, I spent a lot of time with my grandparents, who shared with me their love of movies—especially Hollywood musicals—and it was through those films that I was first dazzled by the magic of cinema.
When did you come to see film as a major focus for your career?
I originally planned to pursue a diplomatic career, which seemed like the best way to see the world and learn about other cultures. However, during my freshman year in college, I took a film course that profoundly shifted my perspective. Films became a window into different cultures, histories, and viewpoints, thus broadening my understanding of the world. This evolving awareness of how cinema could both entertain and enlighten bolstered my passion for film, ultimately leading me to explore it more deeply both personally and professionally.
Although I initially thought I would work in film production, my journey took an unexpected turn at the end of my junior year. While studying abroad in Spain, I was awarded a research grant for my senior thesis in film which allowed me to visit film archives in Madrid, London, and Paris. The opportunity to examine archival material related to film history firsthand, and to discover there were specialized librarians and archivists who cared for this material, illuminated for me an alternative career path in film.
As I considered what I might do after college, I learned about the film archiving program at the University of East Anglia in the U.K. and decided it would be the logical next step to working with film-related archival materials. As part of that program, I completed an internship at the Academy of Motion Picture Arts and Sciences, which led to a permanent position within that organization and really set me on my current path.
How have your various roles at the Academy of Motion Picture Arts and Sciences prepared you for your new position?
The unique position of the Academy as both film research institution and membership organization for a global community of filmmakers allowed me to acquire a broad range of skills and experiences that I can draw upon as I embark on this new and exciting chapter.
My tenure began as an intern, dividing my time between the Academy Gallery and the Academy Film Archive to gain an initial grounding in exhibition work and working with moving image material. After joining the Margaret Herrick Library staff, I continued to learn and grow as I worked my way up into positions with increasing responsibility. I started as a Library Page, which afforded me the opportunity to become acquainted with material from across all collections and observe how students and scholars conduct research. When I moved into the Special Collections department, I began to work more closely with the manuscript collections, learning about the breadth and depth of material available in the archive, interacting with donors for the first time, and collaborating on exhibitions highlighting library material. As Research Archivist, and later as Head of Reference and Public Services, I utilized that knowledge and experience to provide research guidance and collection advice, organize subject-oriented tours for students and special interest groups, present at national and international conferences, and develop databases and tools to aid discoverability.
I was also able to connect with international filmmakers and enhance my knowledge of the contemporary cinematic landscape through my work on the Academy Awards and with the Academy’s Member Relations and Global Outreach team in London.
Are there specific collections at the Ransom Center that you are especially excited to begin working with?
There are so many wonderful collections, it’s difficult to know where to begin! I’m eager to explore the Matthew Weiner Mad Men Collection, which documents the popular drama series. The Robert De Niro Papers are also a vast, rich archive offering not only real insight into an actor’s creative process, but also evidence of the work of his creative collaborators. Film and television are incredibly collaborative art forms, so it’s fantastic to be able to trace that work through collections like these.
I’m also excited about the possibilities for discovering new avenues of inquiry in collections, such as the Gloria Swanson Papers and the David O. Selznick Papers, that have been at the Ransom Center for decades.
What are you looking forward to most about your new position as the Robert De Niro Curator of Film?
My primary goal is to showcase the many stories of film and television within the collections, making them accessible and engaging to our visitors, and that objective can be accomplished in myriad ways.
I’m eager to work in partnership with students and faculty, as their perspectives can offer new insights and foster collaborative learning experiences. I also hope to spark curiosity, whether it be about the documents and objects in the collections, or about the work that goes into administering and caring for those collections.
In addition, coming from an institution that focused exclusively on one art form, I’m really interested in finding points of connection across the Ransom Center’s varied collections. Collaborating with my fellow curators is something I value deeply. I’m looking forward to exchanging ideas and finding ways to integrate film into broader themes and discussions, thus encouraging a more dynamic cultural dialogue.
What do you like to do outside of work?
For curators, the line between work and outside pursuits can sometimes be a bit blurry. For example, watching movies, whether at home or in a cinema, can be very relaxing for me, but it also informs my work and helps me stay connected to current filmmaking practices.
I also love to travel, to explore different cultures and landscapes. There is a certain freedom that comes with being away from the rhythm of everyday life, and I appreciate how that can facilitate an openness to new experiences.
Visiting museums and galleries is another favorite activity of mine. Sometimes it’s about immersing myself in a subject or the work of an artist that’s new to me, while other times it’s about revisiting favorite works or themes. I’m also really interested in finding innovative ways to exhibit objects and present ideas, so seeing the work of other curators can be helpful for that.
All of these activities keep me engaged and inspired and help me bring a fresh perspective to my curatorial work.