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Norman Dawn

Digital collection features more than 8,000 items

November 11, 2013 - Alicia Dietrich

Poster from magicians collection for “Kellar in His Latest Mystery/Self Decapitation” printed by Strobridge Lithographing Company in 1898.

The Ransom Center has launched a new platform of freely available digitized images of collection materials on its website. The new site contains more than 8,000 items and will continue to grow as newly digitized images are added on a regular basis.

Presently the collection includes photographs by Lewis Carroll, manuscripts by Charlotte and Emily Brontë, Harry Houdini’s scrapbooks, works by artist Frank Reaugh, and items from the Ransom Center’s extensive circus collection, which includes materials related to showmen such as P. T. Barnum, Ringling Bros. and Barnum & Bailey.

The digital collections platform provides access to the Ransom Center’s collections for students, scholars and members of the public who are unable to visit the Center. It also provides a way for visitors to access fragile materials or collections that exist in challenging formats, such as personal effects and costumes. One example is a collection of glass plate negatives that documents theater performances in the late-nineteenth and early-twentieth centuries. The fragile collection was previously inaccessible, but the negative plates were digitized and converted to positive images for the digital collection.

Visitors to the Ransom Center’s website can search within collections or across collections, often revealing related materials.  Additional tools provide users with the ability to virtually flip through books, enlarge images and compare page images with accompanying transcripts, which are text-searchable.

Collections are being added on an ongoing basis, and planned digitization projects include the photographs of nineteenth-century photographer Julia Margaret Cameron and photographs and ephemera from the Fred Fehl dance collection.

This project was made possible with funding from the Booth Heritage Foundation.

Please click on thumbnails below to view larger images.

Signed title page of Charlotte Brontë's "The Green Dwarf." September 2, 1833.
Signed title page of Charlotte Brontë’s “The Green Dwarf.” September 2, 1833.
Sherlock Holmes’s inauspicious first appearance was in the 1887 Beeton’s Christmas Annual. The 27-year-old Doyle wrote the novel in three weeks and received only £25 for the full rights.
Sherlock Holmes’s inauspicious first appearance was in the 1887 Beeton’s Christmas Annual. The 27-year-old Doyle wrote the novel in three weeks and received only £25 for the full rights.
Alfred Junge's set designs of Mother Dorothea's office for "Black Narcissus," 1946.
Alfred Junge’s set designs of Mother Dorothea’s office for “Black Narcissus,” 1946.
Poster from magicians collection for “Kellar in His Latest Mystery/Self Decapitation” printed by Strobridge Lithographing Company in 1898.
Poster from magicians collection for “Kellar in His Latest Mystery/Self Decapitation” printed by Strobridge Lithographing Company in 1898.
Page from “Bouts Rimés,” with poems by John Tenniel and illustrations by Tenniel pasted into a bound volume, with some sheets attached so as to fold out.
Page from “Bouts Rimés,” with poems by John Tenniel and illustrations by Tenniel pasted into a bound volume, with some sheets attached so as to fold out.

Filed Under: Digital Collections, Research + Teaching Tagged With: Art, Charles Dodgson, Charlotte Bronte, circus collection, digital collections, digital humanities, Emily Brontë, Film, Frank Reaugh, Harry Houdini, Lewis Carroll, magic collection, Manuscripts, Norman Dawn, Performing Arts, Photography

New digital collection highlights work of early special effects creator Norman Dawn

November 8, 2013 - Alicia Dietrich

Norman Dawn's card “Hale's Tours of the World” (1907).

The Ransom Center recently launched a new platform of digital collections on its website, which includes the Norman O. Dawn collection. More than 240 items from that collection, including the cards highlighted in this blog post, can be viewed on the new platform.

 

Leslie Delassus worked as a graduate intern in public services at the Ransom Center in 2005–2006, and she returned to the Center in 2013 as a dissertation fellowship recipient to conduct research in the Dawn collection. Below, she explores Dawn’s working method and approach to special effects.

Norman O. Dawn was a relatively obscure yet historically significant early special effects cinematographer, inventor, artist, and motion picture director, writer, and producer. The image above is an example of the 164 cards in the Dawn collection that illustrate special effects processes.

 

Produced by Dawn himself during the 1970s, these 16×20-inch cards explicate the process of special effects Dawn produced during his career as a filmmaker, dating back to as early as 1907. Between 1907 and 1951, Dawn created more than 800 special effects for more than 80 films, ranging from his early non-narrative “scenic” films to his subsequent narrative films. All of these effects consist of the juxtaposition of two or more images, a process Dawn refers to as “image manipulation.” The cards include artifacts from the production process including oil, watercolor, pencil, and ink sketches; film clips; frame enlargements; camera records; and production stills. The cards also contain ancillary documents such as movie reviews, advertisements, other trade press clippings, and sections from textbooks and pages from an unpublished autobiography.

 

This wealth of materials visually traces the history of cinematic special effects, situating their development within film scholar Tom Gunning’s notion of the “cinema of attractions,” a much earlier period vastly different from popular narrative film. The cinema of attractions was a more sensational cinema that appealed to audiences through overwhelming spectacle and images of the unfamiliar associated with tourism.

 

The card above explains the production process of the footage Dawn shot for Hale’s Tours of the World (1907), a cinema of attraction par excellence. Combining spectacle and tourism, Hale’s Tours was an amusement park ride set in a trolley, which simulated the sensations of a train ride as riders watched films shot from the point of view of a train in motion. In his footage for the ride, Dawn deployed arguably his most famous special effect innovation, the glass-shot, in which he shot a live scene through a large glass painting. In this particular shot, Dawn juxtaposed footage of members of an indigenous community in Mexico with a painting of ancient Mayan ruins situated in the background, thus combining two spatially distinct objects of tourism into one view. With his glass-shot, Dawn raised the stakes of spectacle by transporting his audience to a place otherwise inaccessible, one only possible through special effects cinema.

 

Significantly, images of spectacle and tourism resurface in Dawn’s fiction films, which are largely underrepresented in film history. While Dawn produced effects for—and in many cases directed—over 80 films, most of these films no longer exist. The few that remain reveal the way in which Dawn’s work in early cinema, like Hale’s Tours, influenced his narrative filmmaking. Often shot in remote and unfamiliar locations, such as the Arctic tundra, these films emphasize spectacle and tourism as integral narrative elements. Much like the audience of the attraction film, the protagonist of these films is overwhelmed by spectacular locations and charged with the task of navigating this unfamiliar terrain. This emphasis on spectacle over narrative links Dawn’s fiction films not only to the much earlier period of the attraction but also to the high-budget blockbuster of contemporary cinema. In this sense, Dawn’s protagonists have much in common with archetypal figures of New Hollywood cinema such as Indiana Jones, thus bridging the gap between the distant past of early cinema and the present moment of popular film.

 

Related content:

Special Effects: Norman Dawn creates earliest techniques

 

Please click on thumbnails below to view larger images.

 

(Detail) Norman Dawn's Card No.7, “Hale's Tours of the World” (1907).
(Detail) Norman Dawn’s Card No.7, “Hale’s Tours of the World” (1907).
(Detail) Norman Dawn's Card No.7, “Hale's Tours of the World” (1907).
(Detail) Norman Dawn’s Card No.7, “Hale’s Tours of the World” (1907).
Norman Dawn's card “Hale's Tours of the World” (1907).
Norman Dawn’s card “Hale’s Tours of the World” (1907).

Filed Under: Digital Collections, Film, Research + Teaching Tagged With: Fellowships, Film, Norman Dawn, special effects

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