- Title Pages
- Title Pages
- Title Pages
- Illustrations
- To Iris Barry (1895–1969)
- Credits
- Previews
-
1 Early Years -
2 “We Enjoyed the War” -
3 “Dear Miss Barry” -
4 The Other Bloomsbury -
5 Life with Lewis -
6 Children -
7 Alan Porter -
8 The Spectator -
9 Splashing into Film Society -
10 Cinema Paragons, Hollywood, and Lady Mary -
11 Let’s Go to the Pictures -
12 Victory and Defeat -
13 America -
14 The Askew Salon -
15 Museum Men -
16 Remarriage -
17 Settling In -
18 Cracking Hollywood -
19 Art High and Low -
20 On to Europe -
21 Going Public -
22 The Slow Martyrdom of Alfred Barr -
23 Meanwhile, Back at the Library -
24 New Work, Old Acquaintances -
25 “The Master” and his Minions -
26 Temora Farm -
27 The Museum Enlists -
28 Mr. Rockefeller’s Office -
29 L’Affair Buñuel -
30 The Other Library -
31 Divorce -
32 Postwar Blues -
33 Abbott’s Fall -
34 Hospital -
35 Departure -
36 La Bonne Font -
37 Things Past -
38 The Austin House -
39 Readjustments -
40 New York and London -
41 Final Breaks -
42 The End - Sequel
- Sources
- Index
The Museum Enlists
The Museum Enlists
- Chapter:
- (p.289) 27 The Museum Enlists
- Source:
- Lady in the Dark
- Author(s):
Robert Sitton
- Publisher:
- Columbia University Press
This chapter describes how World War II transformed the culture of the Museum of Modern Art and its Film Library. Programs and services of the Museum were placed on a wartime footing, from the film series, Britain at War, to the Edward Steichen photo exhibit, “The Road to Victory,” and the poster exhibition the Museum organized for the Army Air Corps. Iris Barry took the opportunity of this shift in the Film Library's role to inform the Museum's members that the Film Library was thoroughly pro-American. In the June–July 1941 issue of the Museum's Bulletin she extended her campaign against the rumors that the Film Library was anti-American, an impression she attributed to the library's considerable holdings of foreign films. In the broad scope of its programs, from the retrospective of American films to the many programs of American films the library had exhibited and circulated, she declared, “the Film Library [has] affirmed its unwavering faith in the film as the liveliest as well as the most popular of the contemporary arts and one in which the United States is supreme.”
Keywords: Film Library, World War II, Museum of Modern Art, nationalism, wartime
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- Title Pages
- Title Pages
- Title Pages
- Illustrations
- To Iris Barry (1895–1969)
- Credits
- Previews
-
1 Early Years -
2 “We Enjoyed the War” -
3 “Dear Miss Barry” -
4 The Other Bloomsbury -
5 Life with Lewis -
6 Children -
7 Alan Porter -
8 The Spectator -
9 Splashing into Film Society -
10 Cinema Paragons, Hollywood, and Lady Mary -
11 Let’s Go to the Pictures -
12 Victory and Defeat -
13 America -
14 The Askew Salon -
15 Museum Men -
16 Remarriage -
17 Settling In -
18 Cracking Hollywood -
19 Art High and Low -
20 On to Europe -
21 Going Public -
22 The Slow Martyrdom of Alfred Barr -
23 Meanwhile, Back at the Library -
24 New Work, Old Acquaintances -
25 “The Master” and his Minions -
26 Temora Farm -
27 The Museum Enlists -
28 Mr. Rockefeller’s Office -
29 L’Affair Buñuel -
30 The Other Library -
31 Divorce -
32 Postwar Blues -
33 Abbott’s Fall -
34 Hospital -
35 Departure -
36 La Bonne Font -
37 Things Past -
38 The Austin House -
39 Readjustments -
40 New York and London -
41 Final Breaks -
42 The End - Sequel
- Sources
- Index
