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Pare Lorentz papers, 1914-1994, bulk 1932-1960

Summary Information

Abstract

These papers contain photographs, correspondence, business records, research notes, and press clippings related to the career of Pare Lorentz, a documentary filmmaker and journalist.

At a Glance

Call No.: MS#1461
Bib ID 6911127 View CLIO record
Creator(s) Lorentz, Pare
Title Pare Lorentz papers, 1914-1994, bulk 1932-1960
Physical Description 80 linear feet (182 document boxes 2 oversize boxes 1 card file 1 roll)
Language(s) English .
Access

This collection is located on-site.

This collection has no restrictions.

Arrangement

Arrangement

This collection is arranged in 11 series.

Description

Summary

These papers consist of photographs, correspondence, research notes, and press clippings related to Pare Lorentz's career as a documentary filmmaker and journalist. Materials related to each of his films are grouped together in separate series. The office files, organized either alphabetically or chronologically according to Lorentz's own system, include records from various New Deal agencies, such as the U.S. Film Service, or the Resettlement Administration. There are materials related to Lorentz's time in the military during World War II. After the war, he conducted extensive research on the threat posed by nuclear weapons; those papers are here, as well. There is some correspondence between Lorentz and John Steinbeck, the novelist.

  • Series I: Ecce Homo, 1938-1942, undated

    Ecce Homo was Lorentz's first attempt at a feature-length fiction film. It began as a radio play, first broadcast on the CBS channel in 1938. The narrative centers around four unemployed workers from the four corners of the United States who met at a filling station in Kansas. One by one, each of the men delivers a monologue about conditions in his home state, while regional music plays in the background. The radio play was supposed to be the forerunner of a feature-length film. Lorentz and his staff conducted extensive research for the production. They studied production practices at Ford's River Rouge factory, gathered information on jobless Americans and relief organizations. Filming began in 1939, but was hampered by a lack of funds. By 1941, with much of the industrial images captured, and the name changed to Name, Age and Occupation, production began again. The picture was never completed, but much of the footage proved useful to government propaganda efforts during World War II.

  • Series II: The Fight For Life, 1921-1942, undated

    Lorentz's last major completed film, The Fight For Life is the story of the Chicago Maternity Clinic, a progressive but under-funded healthcare facility that achieved heroic results for Chicago's working-class families. The movie features three professional actors, but the rest of the people who appear are patients and nurses of the center.

  • Series III: The Plow That Broke The Plains, 1935-1942, undated

    The Plow That Broke The Plains was Pare Lorentz's first effort as a director. A half-hour-long documentary with orchestral music and a portentous narration, the film dramatizes the plight of American farmers and extols the efforts of President Roosevelt's New Deal. The film was made under the aegis of the Resettlement Administration – the name would soon change to the better-known Farm Security Administration – an ambitious agency that hoped to encourage farmers to move from dust bowl areas to ecologically stable land. The film premiered in March 1936, in a special presentation before Roosevelt in the White House.

  • Series IV: The River, 1935-1943, undated

    In June 1936, Lorentz pitched the idea for his second film, The River. In his original conception, the documentary would follow a single drop of water as it flowed from the source of the Mississippi to the Gulf of Mexico. Along the way, the words and images would depict the social, ecological, and economic life of the Mississippi Valley, which at the time was home to more than half of the nation's population. Later, he scrapped the original idea of tracing the river's length and instead based the action around the tributaries flowing into the main stream. One of the main themes of the film is humanity's careless stewardship of the river, which had led to serious erosion and flooding. The first screening was held in New Orleans in October 1937.

  • Series V: Other Films, 1938-1969, undated

    This series contains materials related to some of Lorentz's other film projects.

  • Series VI: Office Files, 1935-1979, undated

    This series contains Pare Lorentz's office files, as well as files from organizations and businesses with which he was associated, including RKO Pictures and the Resettlement Administration. These records consist mainly of expense reports and general correspondence. They are arranged alphabetically. The date ranges may not always be exact. They are taken from labels on Lorentz's file drawers, rather than from the content of individual folders.

  • Series VII: U.S. Army Air Forces, 1941-1947

    During World War II, Lorentz directed the Overseas Technical Unit, which was detailed to gather footage to help American pilots spot landmarks and airstrips around the world. This series has maps, correspondence, journals, and photographs. It also contains scripts from several of the briefing films that were produced as guides for different routes. Large format Air Corps photos depict Africa, Iran, Arabia, India, Morocco, Egypt, Libya, Iceland, Labrador, England, and Scotland. Others are in France or unidentified.

  • Series VIII: Atomic Power and Nuclear War, 1945-1982

    This series contains files related to films and other work concerned with the issues of nuclear weaponry and atomic warfare.

  • Series IX: McCall's, 1935-1941

    Lorentz had a long-running collaboration with the editors at McCall's, having contributed film reviews to the magazine since the mid-1930s. In 1937, his lyrical essay about the flooding of the Mississippi – a piece of writing that eventually became the narration for The River – initially appeared there as a lead editorial. In the spring of 1941, he helped edit a series of special issues dedicated to questions of national defense. As usual, he was in stride with the needs of the administration in Washington, D.C., which was transitioning from domestic reforms to international preparedness.

  • Series X: General, 1914-1994, undated

    This series contains other materials, including personal correspondence, files, and records spanning Lorentz's entire career.

  • Series XI: Digitized Negatives, 1930s, undated

    This series contains digitized images of negatives from the 1930s. Many are frames from Lorentz' movies, including the famous "Day Walk/Night Walk" sequences from Fight For Life. Others are still photos taken on set. Some were originally stills taken by photographers from the Farm Security Administration, the Resettlement Administration, and the U.S. Film Service.

Using the Collection

Rare Book and Manuscript Library

Restrictions on Access

This collection is located on-site.

This collection has no restrictions.

Terms Governing Use and Reproduction

Single photocopies may be made for research purposes. The RBML maintains ownership of the physical material only. Copyright remains with the creator and his/her heirs. The responsibility to secure copyright permission rests with the patron.

Preferred Citation

Identification of specific item; Date (if known); Pare Lorentz papers; Box and Folder; Rare Book and Manuscript Library, Columbia University Library.

Accrual

No additions are expected

About the Finding Aid / Processing Information

Columbia University Libraries, Rare Book and Manuscript Library

Processing Information

Papers processed by Thai Jones (Columbia, 2011) 2009.

Finding aid written by Thai Jones.

Revision Description

2009-09-23 File created.

2009-10-05 xml document instance created by Carrie Hintz

2019-05-20 EAD was imported spring 2019 as part of the ArchivesSpace Phase II migration.

Subject Headings

The subject headings listed below are found in this collection. Links below allow searches at Columbia University through the Archival Collections Portal and through CLIO, the catalog for Columbia University Libraries, as well as ArchiveGRID, a catalog that allows users to search the holdings of multiple research libraries and archives.

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Subject

Heading "CUL Archives:"
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"CUL Collections:"
"CLIO"
"Nat'l / Int'l Archives:"
"ArchivedGRID"
Atomic bomb -- Physiological effect Portal CLIO ArchiveGRID
Atomic bomb -- Social aspects Portal CLIO ArchiveGRID
Atomic bomb -- Testing Portal CLIO ArchiveGRID
Atomic bomb -- United States -- History -- 20th century Portal CLIO ArchiveGRID
Depressions -- 1929 -- United States Portal CLIO ArchiveGRID
Depressions -- 1929 -- United States -- Pictorial works Portal CLIO ArchiveGRID
Documentary films Portal CLIO ArchiveGRID
Documentary films -- United States -- History and criticism Portal CLIO ArchiveGRID
Documentary photography -- United States -- History -- 20th century Portal CLIO ArchiveGRID
Historical films Portal CLIO ArchiveGRID
Lange, Dorothea Portal CLIO ArchiveGRID
Locke, Edwin Portal CLIO ArchiveGRID
Lorentz, Pare Portal CLIO ArchiveGRID
Occupation Portal CLIO ArchiveGRID
Roosevelt, Franklin D (Franklin Delano), 1882-1945 Portal CLIO ArchiveGRID
Steinbeck, John, 1902-1968 Portal CLIO ArchiveGRID
Thomson, Virgil, 1896-1989 Portal CLIO ArchiveGRID
United States. Army Air Forces. Air Transport Command Portal CLIO ArchiveGRID
United States. Farm Security Administration -- History Portal CLIO ArchiveGRID
Vachon, John, 1914-1975 Portal CLIO ArchiveGRID
Water resources development -- Mississippi River Valley Portal CLIO ArchiveGRID
World War, 1939-1945 -- Aerial operations, American Portal CLIO ArchiveGRID
World War, 1939-1945 -- Transportation Portal CLIO ArchiveGRID

History / Biographical Note

Biographical Note

During the 1930s, Pare Lorentz accomplished a rare feat in American cultural history; funded entirely by the government, he directed propagandistic documentaries that became critical and popular hits. In fact, this achievement may have been unique, since no one – including Lorentz himself – was ever able to duplicate it again.

"A fine picture," he once said, "is really a symphony – a carefully orchestrated piece of work which plays on the eye and the ear to get an emotional reaction." His films featured gritty footage, prose-poetic narration, and a dramatic score. He had no use for studio accoutrements. "The best light in the world is the sun," he said. Nor did he care for stars. In his opinion, movies were "made by cutting and direction, and the actor isn't important at all." A documentarian's documentarian, he influenced generations of auteurs. "His work is part of the heritage of all filmmakers," Ken Burns, the acclaimed director, has said. "Lorentz showed us that documentaries need not be based solely on current events, or be filmed journalism. They could be of the heart."

But Lorentz never made cinema for cinema's sake alone. His films were political – even radical – and must be understood within the context of their production. His documentaries unmistakably belong to the creative milieu that inspired the photographs of Dorothea Lange and Walker Evans, as well as the writings of James Agee and John Steinbeck. The Great Depression provided these artists with both a message and a medium; the suffering of the 1930s offered subject-matter rich in pathos and courage, while federal agencies financed and promoted their projects.

Perhaps more than even these well-known figures, however, Lorentz's career synced with the New Deal. His films were regularly screened in the White House, and Franklin D. Roosevelt once said of him: "He's my shooter. He photographs America to show what it's like to our people." Lorentz embraced this role, entitling his autobiography, FDR's Filmmaker. But, the opposite was even more emphatically true: Roosevelt was Lorentz's president. In 1936, when the administration was pushing a farm resettlement policy, Lorentz produced his first picture, The Plow That Broke the Plain, a study of soil erosion. Two years later, when the Democrats needed support for the vast dam projects of the Tennessee Valley Authority, Lorentz obliged them by directing The River, which depicted the Mississippi's chronic flooding. After the attack on Pearl Harbor, Lorentz was again eager to serve his chief. Attaining an officer's rank in the U.S. Army Air Forces, he made pilot-training films and edited footage of the Nuremberg Trials.

As long as Roosevelt remained in power, Lorentz was assured of official accolades and a worthy cause. In later years, though, he could never recapture the synergy of that period. His career as a moviemaker spanned five decades and more, yet his third – and final – film to achieve wide distribution, The Fight for Life, was released in 1940. In part, this was a result of his temperament; Lorentz was a man who envisioned grand projects and then carried them halfway through. But, his politics were an even more fundamental hindrance to success. By the 1950s, his egalitarian populism may not have lost its audience, but it had certainly lost any chance for distribution. He wanted to make films about German war crimes and the development of the Hydrogen Bomb, but the Cold War demanded silence on these topics. Thus, a career that began with such promise ended in a series of frustrations.

Leonard MacTaggart Lorentz was born in Clarksburg, West Virginia, in 1905. "Pare," the traditional family name, had already been taken by his father, a cousin, and an uncle. One more, his mother thought, would be one too many. But, after Lorentz came to New York City in 1925 to make a career as a journalist, he assumed his father's name and used it for his byline. Working freelance, he began reviewing movies for several magazines, including Judge, Vanity Fair, and McCall's. Lorentz also contributed essays and fiction to Harper's, Scribner's, and The New Yorker. Immediately recognized as an important critic, he was 25 years old when he published his first book, Censored: The Private Life of the Movies. He received his advance money – six hundred dollars – on the day of the stock-market crash.

During the early years of the Depression, when nearly one-quarter of the American workforce was unemployed, Lorentz blithely got himself hired and fired from a succession of magazine positions. In each case, dismissal came after he refused to soften his beliefs just to keep a paycheck. He further alienated some employers with his enthusiasm for the New Deal. His second book, The Roosevelt Year: 1933, was a pictorial record of the President's first twelve months in office. A laudatory profile of Henry Wallace, the progressive Secretary of Agriculture, cost him yet another job – this time he was fired by William Randolph Hearst. But, the piece also helped bring him to the attention of policy-makers in the Resettlement Administration, an agriculture relief bureau that promoted its efforts through the work of such photographers as Evans and Lange. "Our job," one agency artist recalled, "was to educate the city dweller to the needs of the rural population." A film could spread the message even more effectively, and Lorentz was given the assignment.

Choosing the Dust Bowl as his subject, he traveled from Montana to Texas, filming the unprecedented erosion that was destroying billions of tons of fertile land. With a $6,000 budget, he was forced to shoot real people on location, as opposed to using actors in a studio lot. Money concerns proscribed the use of sound-film; he instead employed voice-over narration and a classical score. These became the hallmarks of the Lorentz style, but their origins rested as much with necessity as with preference. The Plow That Broke the Plains – which was half an hour long and had cost less than $20,000 to produce – premiered in the spring of 1936; "it tells the story of the Plains," explained Lorentz, "and it tells it with some emotional value – an emotion that springs out of the soil itself."

With Plow completed, Lorentz had gone from film critic to filmmaker. Next, he directed a masterpiece. In The River, he documented the devastating seasonal inundations in the Mississippi valley. During January 1937, after months of shooting, the crew was crating up its equipment when news arrived of an approaching flood. Lorentz flew to the set and remained at the disaster site for weeks, capturing the most remarkable footage of his career. The movie – which cost $49,500 to make – premiered in New Orleans to an enthusiastic reception. "It could have been filmed as baldly as a subcommittee's report, with charts and graphs and the concomitant speeches of Congressmen," the Times reviewer noted. Instead, it "has an epic quality ... To call it a great documentary does it an injustice. It is a great motion picture." Throughout 1938, The River played before audiences in the United States and Europe, screening in commercial theaters – often as part of a twin-bill with Walt Disney's Snow White and the Seven Dwarves. The film was awarded the prize for Best Documentary at the Venice Film Festival, defeating Leni Riefenstahl's Olympiad despite the close ties between Mussolini's Italy and Nazi Germany.

In August 1938, Lorentz was named director of the latest New Deal agency, the United States Film Service, which operated under the National Emergency Council, and drew funds from the Works Progress Administration. Intended "to coordinate the activities of the several departments and agencies which relate to the production or distribution of motion picture films," the Service potentially could have economized Washington's propagandistic and educational efforts. But, the agency faced a hostile Congress, which refused to fund it. The partisan, even radical, messages of Plow and The River further dampened enthusiasm. Nevertheless, Lorentz pushed ahead with his new projects, struggling to balance his artistic and official responsibilities. "I'm getting along on four hours sleep," he told a reporter. "I don't know anybody in the business who hasn't got stomach trouble."

So far, Lorentz had completed short documentaries on soil erosion and flooding. For his next project, he chose a feature-length fiction film about the all-too-human subject of unemployment. Again, this issue was timely for the administration, since President Roosevelt was preparing to launch a new campaign against joblessness. To dramatize a national crisis affecting millions, Ecce Homo! would focus on the odyssey of one single character, an out-of-work man referred to only as Worker #7790. The nameless protagonist was merely a prism through which to focus on the nation's vast productive capacities; characteristically, America's "gigantic industrial equipment and the magnificent amount of arable land" were to be the actual stars. In 1939, Lorentz and his crew set to work. Photographers scattered to find suitable locations. Researchers scanned employment and relief statistics. Film crews gathered footage of mass-production at Ford's River Rouge facility, and captured shots showing the construction of the Grand Coulee Dam. But, despite these efforts, funding problems grew insuperable and the project was abandoned. Later, in 1941, Lorentz attempted to revive the picture, with the new title, Name, Age and Occupation, as an RKO production, but again work had to stop. The film was never finished.

When Roosevelt prepared to launch a series of health-care initiatives in 1939, he called on Lorentz and ordered him to turn his attention toward medicine. The director decided to start at the beginning, with childbirth. The Fight For Life focused on the Chicago Maternity Center, an under-funded clinic that cared for poor mothers, and yet produced a better record than many local hospitals. For the first time in his career, Lorentz used professional actors – but only for a few key roles. Most of his dramatis personae were, as always, the American people. "Mothers in the waiting rooms of the Maternity Center," a reviewer wrote, "undernourished children playing dangerously in the streets – the people of the tenements themselves, are the real actors of this film." It premiered in the spring of 1940 to excellent reviews, and followed its predecessors in a wide commercial release.

That same year, however, Congress voted to stop financing the United States Film Service. Lorentz was too busy to pause over the demise of his bureau. The New Deal decade was over, anyway. The 1940s had arrived, and Roosevelt's attention was turning away from domestic reform to focus on the international situation. The war decade had begun, and Lorentz – as always – would be there for his Commander-in-Chief.

In 1943, he received the rank of Lieutenant Colonel and the assignment to lead a specialized flying force, the Overseas Technical Unit, which was tasked to produce briefing films informing pilots of key landmarks along important routes. To compile the footage for this would require an enormous amount of effort, as well as thousands of hours of flight time. Lorentz was given one aircraft, and a skeleton crew. The plane was an obsolete B-24D, nicknamed "Peeping Tom;" the bombardier's post was refashioned for a Mitchel movie camera, and a dark room was installed in the fuselage. During the next three years, "Peeping Tom" logged 425,000 miles, and made 93 crossings of the world's oceans. She traversed the infamous "Hump" – the route over the Himalayas to Kunming, China – six times, and operated in temperatures ranging from 46 below to 137 above, in Alaska and the Persian Gulf, respectively. Twenty thousand military airmen – in the North Atlantic sector alone – watched the films, which proved their value in the most crucial moments. "When a pilot is fatigued from eight hours of flying, has one hour's gas left, is caught in a rainstorm, and doesn't know where the airport is located," Lorentz explained, the briefing reels "keep him alert to terrain and altitude."

Returning to civilian life, Lorentz quickly discovered that – with President Roosevelt dead – his access to high political circles was severely curtailed. It took longer for him to realize, if in fact he ever did, that the most productive years of his career were over. He had a New Deal sensibility, and always would, but now he lived in a Cold War world. Previously, his work had abetted the Administration's political aims. Now, a series of controversies presaged a future in which his voice would be one of opposition and critique.

First, he spliced together millions of feet of historical footage depicting the Nazi regime – from the earliest putsches to the Trial of the Major War Criminals at Nuremberg – into a feature-length documentary called Nuremberg – Its Lesson for Today. Released in West Berlin in 1948, it received the usual applause. But, two years later the government removed its support. The national interest no longer benefited "from frank and vigorous opposition to the Nazis." Germany was now an ally, after all. "As our focus necessarily shifted from Hitlerism to Stalinism," a former official told the Times, all energy had to be devoted to "anti-Communist themes."

For his next Cold War faux pas, Lorentz planned a propaganda film – No Place To Hide – that would depict the dangers of the Hydrogen bomb. The central character was to be a young doctor who had witnessed the atomic tests at Bikini Atoll. "Through his adventures," wrote Lorentz, "movie audiences will understand for the first time, the fundamental truths, and the majestic implications, of the atomic age – the age in which we are living." As in the old days, the director immersed himself in the topic, researching the science and politics of nuclear power. Critics wondered if Lorentz would be able to create a compelling film from the details of "this unpleasant subject." Would "the average movie theater" be interested in screening it? In the event, this question was never answered. By 1952, after four years trying to find funding, Lorentz conceded that the project was so unpopular that he hadn't been able to "raise two dollars and a half."

As the decades passed, The Plow and The River remained politically controversial, even as their quality as films gained ever more acclaim. In 1977, Radio Station KDKA, in Pittsburgh, broadcast an interview with a man claiming to have been an FBI agent in the 1930s. On-air, he named Lorentz as a Communist; and not just any Communist: he "was one of the biggest communists in Hollywood." Lorentz sued for damages, eventually receiving a check for $25,000 and a written apology, acknowledging "the distinguished list of [his] lifetime accomplishments which clearly demonstrates [his] outstanding record as an American citizen." A minor incident, perhaps, but it reflected a larger historical trend: the man whom a President considered the most patriotic of filmmakers was, a few decades later, decried as a disloyal traitor.

In his later years, Lorentz grew increasingly dissatisfied with the nation's progress. He was also critical of the medium he had helped pioneer, complaining about "the familiar disease of 'talking heads.'" Other directors, in his view, had confused unsightliness for naturalism. "A lot of guys go out with their cameras," he said, "they take a series of ugly pictures, they slap vocal captions on them against a background of harsh music and call them films of reality." Lorentz himself continued to envision radical projects, factual films that would explain unpleasant truths to skeptical audiences. "If I were making documentaries now," he said when he was in his 80s, "I'd like to see how bad the sludge in New York harbor is, see where the radiation is coming from."

Pare Lorentz died in March 1992; he was 86 years old.

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Series I: Ecce Homo, 1938-1942, undated

Ecce Homo was Lorentz's first attempt at a feature-length fiction film. It began as a radio play, first broadcast on the CBS channel in 1938. The narrative centers around four unemployed workers from the four corners of the United States who met at a filling station in Kansas. One by one, each of the men delivers a monologue about conditions in his home state, while regional music plays in the background. The radio play was supposed to be the forerunner of a feature-length film. Lorentz and his staff conducted extensive research for the production. They studied production practices at Ford's River Rouge factory, gathered information on jobless Americans and relief organizations. Filming began in 1939, but was hampered by a lack of funds. By 1941, with much of the industrial images captured, and the name changed to Name, Age and Occupation, production began again. The picture was never completed, but much of the footage proved useful to government propaganda efforts during World War II.


Subseries 1. Correspondence, Scripts, and Research, 1938-1942, undated

The correspondence concerns the process of fundraising and shooting, as well as the details of Lorentz's long struggle to complete the film. The scripts include both drafts for the original radio play, as well as the full-length treatment for the feature film.



Box 1 Folder 1 "History of a Motion Picture,", 1942


Box 1 Folder 2 Activities Reports, 1938-1942


Box 1 Folder 3 Origin of Contract, 1941


Box 1 Folder 4 Correspondence, 1938-1940


Box 1 Folder 5 Correspondence--Floyd Crosby, 1937-1938


Box 1 Folder 6 Correspondence--Re: Film Footage, 1938-1942


Box 1 Folder 7 Costumes--1939-1942


Box 1 Folder 8 Name, Age and Occupation--Budget, 1942


Box 1 Folder 9 Budget Detail, 1941


Name, Age and Occupation


Box 1 Folder 10 Casting, 1942


Box 1 Folder 11 to 12 Correspondence, 1941-1942


Box 1 Folder 13 Film Delivery, 1948


Box 1 Folder 14 to 16 Film Controversy, 1938-1942



Box 2 Folder 1 Music Research, 1941-1942


Box 2 Folder 2 to 3 Screenplay Drafts, 1942


Box 2 Folder 4 Newspaper Clippings, 1942


Box 2 Folder 5 Ecce Homo Outline, 1938


Box 2 Folder 6 Name, Age and Occupation--Press Releases, 1942


Box 2 Folder 7 Name, Age and Occupation--Production Reports,, 1942


Box 2 Folder 8 Publicity--RKO Press Releases, 1942


Ecce Homo


Box 2 Folder 9 Radio Broadcast--Transcripts, 1939


Box 2 Folder 10 Radio Broadcast--Correspondence, 1938-1941


Box 2 Folder 11 Scripts, 1938



Box 3 Folder 1 Seattle, 1938-1939


Box 3 Folder 2 Seattle Notes, undated


Box 3 Folder 3 Ecce Homo--Scripts and Scenario, 1938


Box 3 Folder 4 Kalemis Script, undated


Box 3 Folder 5 Ecce Homo--Shooting Notes, 1938


Box 3 Folder 6 Ecce Homo--Script Reports, 1938-1939


Box 3 Folder 7 Stackpole Sons, 1939


Research


Box 3 Folder 8 to 9 1938-1940


Box 3 Folder 10 Government Machinery, 1938 (Includes Photos), 1938


Box 3 Folder 11 Hold The Man, 1938



Box 4 Folder 1 "Men, Methods and Machines,", 1939


Box 4 Folder 2 Relief Material, 1938


Box 4 Folder 3 Unemployed Compensation Form, 1939


Box 4 Folder 4 Unemployment, 1939


Name, Age and Occupation


Box 4 Folder 5 Script, 1942


Box 4 Folder 6 Early Treatment, 1941


Box 4 Folder 7 to 8 Notes, 1942


Box 4 Folder 9 Press Clippings, 1941-1942


Subseries 2. Shooting Notes and Selected Takes, 1939-1942, undated

The shooting notes in this subseries document the shot-by-shot progress of production.


Name, Age and Occupation,


Box 4 Folder 10 to 11 Shooting Notes, 1942 (2 of 3 Folders), 1942



Box 5 Folder 1 Shooting Notes, 1942 (1 of 3 Folders), 1942


Box 5 Folder 2 Record of Negative and Positive, 1948


Box 5 Folder 3 to 4 Estimating Script, 1942


Ecce Homo


Box 5 Folder 5 to 6 Selected Takes, undated


Box 5 Folder 7 Shooting Notes, 1939



Box 6 Folder 1 to 3 Shooting Notes--Prod 3, 1938-1939


Subseries 3. Still Photographs, circa 1938-1942, undated

Some of the still photographs depict the actors and filmmakers at work. But the majority consists of 8x10-inch shots, mounted on cardboard, depicting scenes from across the Midwest during the Great Depression. The images, most of which were taken by Edwin Locke, focus on industrial production, cityscapes, streetscapes, and landscapes. They were used as research for the film.


Box 6 Folder 4 Name, Age and Occupation--Photos of Leads, undated


Box 6 Folder 5 Decatur, Indiana, undated


Ecce Homo


Box 6 Folder 6 to 10 Ed Locke Photos, undated


Box 6 Folder 1 to 12 Location Shots, undated


Box 6 Folder 13 Stills, undated (1 of 5 Folders), undated



Box 7 Folder 1 to 4 Stills, undated (4 of 5 Folders), undated


Box 7 Folder 5 Still Pictures--Cast, undated


Box 7 Folder 6 Carded Stills--North, undated


Box 7 Folder 7 Carded Stills--IV, undated


Box 7 Folder 8 to 9 Carded Stills, undated



Box 8 Folder 1 to 2, 4, 6 Carded Stills, undated


Box 8 Folder 3 Carded Stills--Alternates, undated


Box 8 Folder 5 Carded Stills--Alternates V, undated



Box 9 Folder 1 Carded Stills--P. 84, undated


Box 9 Folder 2 Carded Stills--P. 85-86, undated


Box 9 Folder 3 Carded Stills--P. 86, undated


Box 9 Folder 4 Carded Stills, undated



Box 10 Folder 1 to 6 Carded Stills, undated



Box 11 Folder 1 to 5 Carded Stills, undated



Box 12 Folder 1 Carded Stills--Industrial America, undated


Box 12 Folder 2 to 4 Carded Stills, undated


Box 12 Folder 5 Carded Stills, undated (includes Pare on location), undated



Box 13 Folder 1 to 5 Carded Stills, undated



Box 14 Folder 1 to 2, 4 to 6 Carded Stills, undated


Box 14 Folder 3 Carded Stills--The Proffet and the Picket, undated



Box 15 Folder 1 to 4 Carded Stills--Selected by Robert L. Snyder, undated (4 of 6 Folders), undated



Box 16 Folder 1 to 2 Carded Stills--Selected by Robert L. Snyder, undated (2 of 6 Folders), undated


Box 16 Folder 3 Name, Age and Occupation--Negatives, undated



Box 17 Folder 3 Ecce Homo--Oversize Album, undated

Series II: The Fight For Life, 1921-1942, undated

Lorentz's last major completed film, The Fight For Life is the story of the Chicago Maternity Clinic, a progressive but under-funded healthcare facility that achieved heroic results for Chicago's working-class families. The movie features three professional actors, but the rest of the people who appear are patients and nurses of the center.


Subseries 1. Distribution, Publicity, Research, 1921-1942, undated

This subseries contains notes and records related to the film's screenings in various cities. There are many press clippings, mainly movie reviews.



Box 18 Folder 1 Correspondence--Actors, 1939


Box 18 Folder 2 Advertising, 1940


Box 18 Folder 3 to 4 Columbia Pictures, 1940


Box 18 Folder 5 Contract and Copyright, 1939-1940


Box 18 Folder 6 Camera Report, 1939


Box 18 Folder 7 Continuity, 1940


Box 18 Folder 8 Distribution, 1940


Box 18 Folder 9 Research, 1940


Box 18 Folder 10 Distribution Returns, 1940



Box 19 Folder 1 Distribution--Noncommercial Requests, 1940-1941


Box 19 Folder 2 Fan Letters, 1940


Box 19 Folder 3 Harcourt, Brace and Co., 1938-1940


Box 19 Folder 4 Medical Controversy, 1938-1940


Box 19 Folder 5 Interoffice Memos, 1940


Box 19 Folder 6 Music and Musicians, 1939-1941


Box 19 Folder 7 Publicity, 1938-1940


Box 19 Folder 8 Radio, 1940



Box 20 Folder 1 Previews, 1940


Box 20 Folder 2 Pass List, 1940


Box 20 Folder 3 to 4 New York Premiere, 1940


Box 20 Folder 5 Prints and Production, 1939-1940


Box 20 Folder 6 Special Exploitation, 1940


Box 20 Folder 7 Publicity, 1940



Box 21 Folder 1 to 2 Publicity, 1939-1942


Box 21 Folder 3 Stills, 1940


Box 21 Folder 4 Sound Record, 1940


Box 21 Folder 5 Research--Birth Control, 1939-1940


Box 21 Folder 6 Correspondence--A-D, 1939-1940


Box 21 Folder 7 Correspondence--G-L, 1939-1940



Box 22 Folder 1 Correspondence--M-R,1939-1941


Box 22 Folder 2 Correspondence--S-W, 1939-1941


Box 22 Folder 3 Research Materials, 1938-1939


Box 22 Folder 4 to 5 Interdepartmental Committee, 1938


Box 22 Folder 6 Birth Reports, undated


Box 22 Folder 7 Research Materials, 1938-1939



Box 23 Folder 1 Research Materials, 1938-1939


Box 23 Folder 2 Gruenberg Compositions, 1921-1923


Box 23 Folder 3 Research Materials, 1938-1939


Box 23 Folder 4 to 5 Maternity Publications, 1933-1939



Box 24 Folder 1 Doctor's Organizations Contact Information, undated



Box 25 Folder 1 Background Notes, 1939


Box 25 Folder 2 Research Materials, undated


Box 25 Folder 3 Chicago Maternity Center, 1939


Box 25 Folder 4 Maternity Center Bulletin Board Records, 1936-1939


Box 25 Folder 5 Statistics, 1939-1940


Box 25 Folder 6 Research Publications, 1936-1940



Box 26 Folder 1 Research Publications, 1936-1940


Box 26 Folder 2 Research Materials, 1935-1938


Box 26 Folder 3 Screenplay, 1939


Box 26 Folder 4 Shooting Scripts, undated



Box 27 Folder 1 Reviews, 1940


Box 27 Folder 2 Publicity, 1940


Box 27 Folder 3 Reviews, 1940


Box 27 Folder 4 Script and Research, 1939


Box 27 Folder 5 Research, 1938



Box 28 Folder 1 to 2 Publicity, 1939-1940


Box 28 Folder 3 Publicity, 1936-1940


Subseries 2. Production, 1939-1940

These files contain extensive documentation of the production process. The production script notes were removed from their original binders.


Script Notes



Box 186 Folder 4 to 5 Production 4--Volume 1, 1939



Box 29 Folder 1 to 2 Production 4--Volume 2, 1939


Box 29 Folder 3 Production 4--Volume 3, 1939


Box 29 Folder 4 1939-1940


Box 29 Folder 5 Complete Scripts, undated


Box 29 Folder 6 Scene Notes, 1939


Box 29 Folder 7 Script Notes, undated



Box 30 Folder 1 Publicity, 1940


Box 30 Folder 2 Shooting Script, undated


Box 30 Folder 3 Screenplay, undated


Box 30 Folder 4 to 5 Script Sheet--Chicago Notes, 1939



Box 31 Folder 1 to 2 Script Sheet--Hollywood Notes, 1939


Box 31 Folder 3 to 6 Hollywood and Chicago, 1939



Box 32 Folder 1 Scene Notes, 1939


Box 32 Folder 2 Exploitation, 1940


Box 32 Folder 3 to 5 Script Notes Production 4--Chicago, 1939


Box 32 Folder 6 Shooting Sequences, undated


Box 32 Folder 7 Shooting Script Report, 1939



Box 33 Folder 1 Shooting Script Report, 1939


Box 33 Folder 2 Code Book, undated


Box 33 Folder 3 Negative Camera Reports, 1939


Box 33 Folder 4 to 5 Lloyd Nosler, 1939-1940


Box 33 Folder 6 Financial Record, undated


Box 33 Folder 7 Public Health Service, 1939



Box 34 Folder 1 to 2 Daily Journal, 1937-1938


Box 34 Folder 3 to 5 Daily Journal, 1939


Subseries 3. Stills, undated

Some of the still photographs filed here were taken on set, others come from the film itself, and a third group was used by Lorentz for research while he was writing the screenplay.



Box 35 Mounted Stills, undated



Box 36 Mounted Stills, undated



Box 37 Folder 1 Mounted Stills, undated


Box 37 Folder 2 to 5 Stills, undated

Series III: The Plow That Broke The Plains, 1935-1942, undated

The Plow That Broke The Plains was Pare Lorentz's first effort as a director. A half-hour-long documentary with orchestral music and a portentous narration, the film dramatizes the plight of American farmers and extols the efforts of President Roosevelt's New Deal. The film was made under the aegis of the Resettlement Administration – the name would soon change to the better-known Farm Security Administration – an ambitious agency that hoped to encourage farmers to move from dust bowl areas to ecologically stable land. The film premiered in March 1936, in a special presentation before Roosevelt in the White House.


Subseries 1. Publicity and Clippings, 1936-1941, undated

After initially struggling to generate enthusiasm for his film, Lorentz eventually packed his picture into suitcases and traveled the nation, appealing directly to reporters and theater owners. These reviews and feature stories, clipped from newspapers and magazines, are the result of that effort.



Box 38 Folder 1 Posters, 1936


Box 38 Folder 2 to 6 Clippings, 1936-1941



Box 39 Folder 1 Rural Rehabilitation in Region One , 1937


Box 39 Folder 2 to 6 Press Releases--Region 1, 1935-1938


Box 39 Folder 7 Press Releases--Region 2-5, 1936-1937



Box 40 Folder 1 Press Releases--Region 7-8, 1936-1938


Box 40 Folder 2 to 3 Press Releases--Region 9, 1936-1938


Box 40 Folder 4 Press Releases--Region 11, 1936-1937


Box 40 Folder 5 Information for the Press, 1936-1937


Box 40 Folder 6 Minutes and Memoranda, 1936-1938


Box 40 Folder 7 Weekly Information Memos, 1937-1938


Subseries 2. Production and Distribution, 1935-1942

These folders contain booking forms and records, notes on distribution.



Box 41 Folder 1 to 2 Financial Records, 1935-1936


Box 41 Folder 3 Old Plow Bills, 1936-1937


Box 41 Folder 4 Lorentz Plow Travel, 1935-1936


Box 41 Folder 5 to 6 Bookings--Commercial, 1936-1938



Box 42 Folder 1 to 2 Bookings--Commercial, 1936-1937


Box 42 Folder 3 to 5 Bookings--Non-Commercial, 1936-1937



Box 43 Folder 1 to 4 Bookings--Non-Commercial, 1936-1938


Box 43 Folder 5 to 6 Bookings--Reports and Distribution, 1936-1937



Box 44 Folder 1 Bookings--Reports and Distribution, 1937-1939


Box 44 Folder 2 Distribution, 1936-1939


Box 44 Folder 3 Foreign Distribution, 1936-1937


Box 44 Folder 4 Confidential Report, undated


Box 44 Folder 5 Fan Mail, 1936


Box 44 Folder 6 Correspondence--Edwin Locke, 1940


Box 44 Folder 7 Description of Scenes, 1935


Box 44 Folder 8 General Information, 1935


Box 44 Folder 9 Notes on Purpose and Production, undated



Box 45 Folder 1 Memos and Correspondence, 1936-1942


Box 45 Folder 2 General Information, undated


Box 45 Folder 3 Study Guide, undated


Box 45 Folder 4 Ecological Map, 1935


Box 45 Folder 5 Shooting Script, undated


Box 45 Folder 6 Requests, Prints, Previews, 1938-1939


Box 45 Folder 7 Music and Narration, undated


Box 45 Folder 8 Regional Information, 1936


Box 45 Folder 9 Correspondence--Washington, 1936-1937


Box 45 Folder 10 to 11 Publicity, 1936-1939, undated


Subseries 3. Stills, 1935, undated

The stills in this subseries include photos of the crew working on location.



Box 46 Folder 1 to 2 Stills, 1935


Box 46 Folder 3 to 6 Carded Stills, undated

Series IV: The River, 1935-1943, undated

In June 1936, Lorentz pitched the idea for his second film, The River. In his original conception, the documentary would follow a single drop of water as it flowed from the source of the Mississippi to the Gulf of Mexico. Along the way, the words and images would depict the social, ecological, and economic life of the Mississippi Valley, which at the time was home to more than half of the nation's population. Later, he scrapped the original idea of tracing the river's length and instead based the action around the tributaries flowing into the main stream. One of the main themes of the film is humanity's careless stewardship of the river, which had led to serious erosion and flooding. The first screening was held in New Orleans in October 1937.


Box 46 Subseries 1. Printed Materials and Publicity, 1936-1940, undated

This subseries contains press reviews, distribution materials, shooting record from production and screening.



Box 47 Folder 1 to 4 Paramount Reports From Exchanges, 1938-1939


Box 47 Folder 5 The Land, 1939-1940


Box 47 Folder 6 Movie Making Ideas, 1936-1939


Box 47 Folder 7 U.S. Government Films, 1938-1939



Box 48 Folder 1 Postaudit and Claims, Letters, 1937-1940


Box 48 Folder 2 Budget, 1935-1937


Box 48 Folder 3 New Orleans Voucher, 1940


Box 48 Folder 4 Miscellaneous Pieces Re: The River, 1938


Box 48 Folder 5 The River signed by Franklin and Eleanor Roosevelt,, 1935-1938


Box 48 Folder 6 Publicity, 1937


Box 48 Folder 7 The River a U.S. Documentary Film, undated


Box 48 Folder 8 Publicity Book, undated


Box 48 Folder 9 Press Information, undated



Box 49 Folder 1 Venice Film Festival Award, 1938


Box 49 Folder 2 Grand Shorts Award, 1938


Subseries 2. Subject Files, 1935-1943

These folders contain research materials used by Lorentz to write the screenplay and choose locations.



Box 50 Folder 1 General Information, 1938-1941


Box 50 Folder 2 Australia, Mervyn Scales, 1938-1940


Box 50 Folder 3 Biographies, undated


Box 50 Folder 4 Book The River, 1937-1938


Box 50 Folder 5 Booking, 1938-1939


Box 50 Folder 6 Booking Reports, Griswold Summaries, 1936-1938


Box 50 Folder 7 Booking Reports, Commercial Paramount, 1938-1939


Box 50 Folder 8 Booking Reports By State, 1938-1940


Box 50 Folder 9 Bookings, Balaban and Katz, 1937


Box 50 Folder 10 Bookings, Boston Opening and Run, 1937-1939


Box 50 Folder 11 Bookings, Cameo Theater, 1938


Box 50 Folder 12 Bookings, Special, 1938-1939


Box 50 Folder 13 Brief Synopsis of The River, undated



Box 51 Folder 1 Cameramen For The River, 1937


Box 51 Folder 2 Canadian Showings and Requests, 1938-1939


Box 51 Folder 3 Commercial Appeal Article, 1937


Box 51 Folder 4 Contract, Paramount, 1937-1940


Box 51 Folder 5 Copyright, 1938


Box 51 Folder 6 Criterion Opening, 1938


Box 51 Folder 7 Cutting Continuity, 1938


Box 51 Folder 8 Distribution Statistics, 1939-1940


Box 51 Folder 9 to 11 Distribution, March-July 1939-, January-June 1940



Box 52 Folder 1 Distribution--Foreign, 1937-1940


Box 52 Folder 2 Distribution--Migrant Camp Movies, 1938


Box 52 Folder 3 Distribution--Non-Commercial, 1937-1940


Box 52 Folder 4 Distribution Policy, 1938


Box 52 Folder 5 Distribution Requests--Commercial, 1937-1938


Box 52 Folder 6 Fan Mail, 1937-1939


Box 52 Folder 7 Location Trip Diary, 1936


Box 52 Folder 8 Location Background, 1937


Box 52 Folder 9 Lorentz Coast Trips, 1937-1938


Box 52 Folder 10 Mississippi Premieres, 1937-1938


Box 52 Folder 11 Education Plan, 1938


Box 52 Folder 12 Exchange List, 1939


Box 52 Folder 13 Griswold, 1937-1939


Box 52 Folder 14 Financial Report, undated


Box 52 Folder 15 Exploitation--Regional Information Advisers, 1938-1939


Box 52 Folder 16 Exploitation--Magazine and Other, 1937-1938


Box 52 Folder 17 Exploitation--Radio, 1937


Box 52 Folder 18 Miscellaneous, 1937-1940



Box 53 Folder 1 Music, 1937-1938


Box 53 Folder 2 Music and Copyright, 1938


Box 53 Folder 3 Payrolls, 1937-1938


Box 53 Folder 4 Permission to Use Title of The River, 1937


Box 53 Folder 5 Personal Appearances, 1937-1938


Box 53 Folder 6 Press Book, 1937


Box 53 Folder 7 Press Book--Paramount, 1937-1938


Box 53 Folder 8 Press Releases--NY Office, 1938


Box 53 Folder 9 Press Reviews, 1937-1938


Box 53 Folder 10 Clippings, 1937-1943



Box 54 Folder 1 Research and Production, 1935-1937


Box 54 Folder 2 Zone Reports and Activities, 1937-1938


Box 54 Folder 3 Previews, 1937-1938


Box 54 Folder 4 Prints, 1938-1939


Box 54 Folder 5 Questionnaire and Answers--Little Red School House, undated


Box 54 Folder 6 Releases, 1938


Box 54 Folder 7 Research Data--Production #3, 1937


Box 54 Folder 8 Service Manual, 1938


Box 54 Folder 9 Stills, 1938-1943


Box 54 Folder 10 Technical Production Costs, undated


Box 54 Folder 11 Television, 1938-1940


Box 54 Folder 12 Venice Exposition, 1938


Box 54 Folder 13 Verbatim Transcript From Movie, undated


Box 54 Folder 14 Washington Premiere and Run, 1937


Subseries 3. Still Photographs, 1935-1940, undated

Some of these are stills from the movie, while others were used for research.



Box 55 Folder 1 Stills--"A", undated


Box 55 Folder 2 Stills--"B", undated


Box 55 Folder 3 New York City, undated


Box 55 Folder 4 The River, 1940


Box 55 Folder 5 Pare Lorentz On Location, 1936


Box 55 Folder 6 Complete Set 10 Paramount Stills and 18 Rejects, undated


Box 55 Folder 7 Publicity Stills--L8-L27, undated


Box 55 Folder 8 Publicity Stills--L28-L60, undated


Box 55 Folder 9 Publicity Stills--1-10, undated


Box 55 Folder 10 Publicity Stills--11-20, undated



Box 56 Folder 1 Publicity Stills--22-29, undated


Box 56 Folder 2 Publicity Stills--30-47, undated


Box 56 Folder 3 Publicity Stills--48-55, undated


Box 56 Folder 4 Carded Stills, undated


Box 56 Folder 5 to 7 Still Photographs, undated



Box 57 Folder 1 to 6 Still Photographs, 1935-1938,undated


Box 57 Folder 7 A Complete Set of 10 Stills, undated



Box 58 Folder 1 to 6 Still Photographs, undated

Series V: Other Films, 1938-1969, undated

This series contains materials related to some of Lorentz's other film projects.


Subseries 1. The City, 1938-1941

Stills and correspondence related toThe City(1939). Lorentz wrote the screenplay, but the picture was directed by Ralph Steiner and Willard Van Dyke, both of whom had previously worked with Lorentz as cinematographers. The film was commissioned by the American Institute of Planners and first aired at the 1939 World's Fair in New York. Like earlier efforts, The City had a message. In this case, it was the perils of city life. It stressed the purity of rural and village living and stressed the beneficial effects of increased suburban housing.



Box 59 Folder 1 Correspondence, 1938-1941


Box 59 Folder 2 Scripts, 1938-1939


Box 59 Folder 3 Research, 1937-1938


Box 59 Folder 4 Clippings, 1939-1941


Box 59 Folder 5 to 6 Stills, undated


Subseries 2. Nuremberg Trials Film, 1947-1969

In 1946, the Allied Control Council agreed to produce a documentary film on the Nuremberg Trials. Two million feet of captured German film were scattered through the United States. Lorentz took responsibility for compiling the footage into a coherent whole. He created a 75-minute film, entitled "Nuremberg – Its Lesson Today." Shown in commercial theaters in the U.S. Zone in Berlin, to great acclaim, it was pulled from circulation when the Cold War changed the focus of American foreign policy. Materials include correspondence, clippings, and a "brief explanation" of the project.



Box 60 Folder 1 Prospective Investors, 1950-1951


Box 60 Folder 2 H. William Fitelson, 1951


Box 60 Folder 3 Lists of People to be Invited to Showings of Nuremberg Trials Film, 1950


Box 60 Folder 4 Prospectus, 1950-1951


Box 60 Folder 5 Covington et al., 1948-1956


Box 60 Folder 6 Correspondence, 1949-1964


Box 60 Folder 7 Nuremberg Trials Film, 1949-1969


Box 60 Folder 8 to 9 The Nuremberg Trials, 1948-1952


Box 60 Folder 10 United Nations, 1950-1951


Box 60 Folder 11 Clippings, 1949-1956


Box 60 Folder 12 Nuremberg--Brief Explanation, 1949



Box 61 Folder 1 to 2 Nuremberg, 1947-1951


Box 61 Folder 3 to 5 Trial of the Major War Criminals, 1947


Subseries 3. Good Neighbors, 1939-1941

Lorentz envisioned this as "a gentle comedy" about the relations between North and South America. He hoped to work with Cantinflas, whom he described as "the greatest star in Latin-America." Materials include correspondence, clippings, and distribution plans.


Box 61 Folder 6 Cantinflas and Pare Lorentz Working Together, 1941


Box 61 Folder 7 to 8 Distribution, 1939-1941



Box 62 Folder 1 Distribution, 1939


Box 62 Folder 2 Correspondence and Clippings, 1941-1942


Subseries 4. Polio, 1948-1951

A screenplay Lorentz wrote on the behest of the National Foundation for Infantile Paralysis. The files consist of correspondence and research, as well as screenplay drafts.


Box 62 Folder 3 National Foundation for Infantile Paralysis, 1949-1951


Box 62 Folder 4 Screenplay, 1949


Box 62 Folder 5 NFIP--Major Research, 1949


Box 62 Folder 6 NFIP--Miscellaneous Research, 1949



Box 63 Folder 1 NFIP--Film, 1948


Box 63 Folder 2 NFIP--Roughs, 1949


Box 63 Folder 3 Polio and its Problems by Roland H. Berg,, 1948


Box 63 Folder 4 Screenplay Drafts, 1948-1949


Subseries 5. Other Films, 1930s-1963

Some materials related to other film projects, includingThe Land, My Brother's Keeper,andThe Face of the Earth,an environmental documentary.


The Face of The Earth , 1950-1963



Box 64 Folder 1 The Face of the Earth, 1950-1963


Box 64 Folder 2 Correspondence, 1951


Box 64 Folder 3 The Land , 1951


Box 64 Folder 4 My Brother's Keeper , 1949


Subseries 6. John Vachon Stills, 1930s-1940s

A large collection of still photographs taken by John Vachon, an acclaimed New Deal era shooter. Most of the pictures depict the American Northwest.



Box 65 Folder 1 to 26 Still Photos of the Northwest, 1930s-1940s



Box 66 Folder 1 to 22 Still Photos of the Northwest, 1930s-1940s

Series VI: Office Files, 1935-1979, undated

This series contains Pare Lorentz's office files, as well as files from organizations and businesses with which he was associated, including RKO Pictures and the Resettlement Administration. These records consist mainly of expense reports and general correspondence. They are arranged alphabetically. The date ranges may not always be exact. They are taken from labels on Lorentz's file drawers, rather than from the content of individual folders.


Subseries 1. RKO Files, 1941-1942, undated

After Congress ceased funding the U.S. Film Service, Lorentz signed a two-picture deal with RKO. Here is correspondence and files related to that experience.



Box 67 Folder 1 to 37 Alphabetical Correspondence, 1941-1942



Box 68 Folder 1 General Correspondence, 1941-1942


Box 68 Folder 2 Copyright, 1941-1942


Subseries 2. General Office Files, 1936-1941

These files contain some records from New Deal agencies, including the Resettlement Administration and the Farm Security Administration, as well as personal records from Lorentz's business transactions.



Box 69 Folder 1 Automobile Expenses, 1937-1938


Box 69 Folder 2 Audio Productions Inc., 1937-1938


Box 69 Folder 3 Bills of Lading--Incoming, 1936-1937


Box 69 Folder 4 Bills of Lading--Outgoing, 1936-1937


Box 69 Folder 5 Bills of Lading--Incoming, 1938


Box 69 Folder 6 Bills of Lading--Outgoing, 1938


Box 69 Folder 7 Bills of Lading--Miscellaneous, 1936-1938


Box 69 Folder 8 Boston Water Purifier Co., 1937


Box 69 Folder 9 Books, 1936-1938


Box 69 Folder 10 Brentanos, 1938


Box 69 Folder 11 to 12 Bridgeman--Agent-Cashier, 1937-, 1938



Box 70 Folder 1 to 2 Bridgeman--Travel, 1937-1938


Box 70 Folder 3 FSA Budget, 1938


Box 70 Folder 4 Commercial Stationery Co., 1936


Box 70 Folder 5 to 6 Contracts, 1936-1938


Box 70 Folder 7 De Luxe Laboratories, 1938


Box 70 Folder 8 Eastman-Kodak Stores, 1936-1937



Box 71 Folder 1 Equitable Stationery Co., 1936-1938


Box 71 Folder 2 Twentieth Century Fox, 1937-1938


Box 71 Folder 3 Film Library--Museum of Modern Arts, 1937-1938


Box 71 Folder 4 Film Receipts, 1937-1938


Box 71 Folder 5 General Service Studios, 1936-1938


Box 71 Folder 6 Government Movies, undated


Box 71 Folder 7 Goerz-American Optical Co., 1938


Box 71 Folder 8 H.E.R. Laboratories, 1937


Box 71 Folder 9 Irving Browning Studios, 1936


Box 71 Folder 10 Lorentz--Agent-Cashier, 1936


Box 71 Folder 11 Lloyds Film Storage, 1936-1937


Box 71 Folder 12 March of Time, 1937-1938


Box 71 Folder 13 Motion Picture Lighting and Equipment, 1937


Box 71 Folder 14 Movietonews Inc., 1937-1938


Box 71 Folder 15 Music Publishers Protective Association, 1937


Box 71 Folder 16 Moss Manufacturing Co., 1938


Box 71 Folder 17 Motion Picture Camera Supply, 1936-1937


Box 71 Folder 18 National Screen Service, 1937-1938


Box 71 Folder 19 National Cine Laboratories, 1938


Box 71 Folder 20 New York Telephone Co., 1938



Box 72 Folder 1 Office Supplies, 1936-1938


Box 72 Folder 2 Office Moving, 1936-1938


Box 72 Folder 3 Office Supplies--Washington Requisitions, 1936-1938


Box 72 Folder 4 Postal Telegraph, 1936-1938


Box 72 Folder 5 Pavelle Laboratories, 1937-1938


Box 72 Folder 6 Peerless Towel Supply Co., 1938


Box 72 Folder 7 Periodicals, 1938


Box 72 Folder 8 Paramount East Coast Bills, 1937-1938


Box 72 Folder 9 Personal Telegrams, 1937


Box 72 Folder 10 Pathe News, 1936-1938


Box 72 Folder 11 Paramount Distribution--Correspondence, 1936-1938


Box 72 Folder 12 Paramount West Coast, 1936-1938


Box 72 Folder 13 Preview Theater, 1936-1938


Box 72 Folder 14 Railway Express Agency, 1936-1938


Box 72 Folder 15 RCA Communications, 1936-1938


Box 72 Folder 16 Romeike Clippings Service, 1936-1938


Box 72 Folder 17 Royal Typewriter Co., 1936-1938


Box 72 Folder 18 RCA Manufacturing, 1936-1938


Box 72 Folder 19 Ruby Camera Co., 1936-1938


Box 72 Folder 20 Ralph Steiner, 1936-1938


Box 72 Folder 21 Stackpole Sons, 1936-1938


Box 72 Folder 22 Sound Effects, 1936-1938


Box 72 Folder 23 Still Photos, 1936-1938


Box 72 Folder 24 Todd and Robertson, 1936-1938


Box 72 Folder 25 United Artists Studios, 1936-1938


Box 72 Folder 26 Willard Van Dyke, 1936-1938


Box 72 Folder 27 Western Union, 1936-1938


Box 72 Folder 28 Horace Woodard, 1936-1938


Box 72 Folder 29 Stacy Woodard, 1936-1938



Box 73 Folder 1 to 2 Atkins, 1939-1941


Box 73 Folder 3 Associated Film Audiences, 1939-1941


Box 73 Folder 4 "A", 1939-1941


Box 73 Folder 5 Applications for Jobs, 1939-1941


Box 73 Folder 6 AAA (Scripts), 1939-1941


Box 73 Folder 7 Bridgeman and Miriam Bell, 1939-1941


Box 73 Folder 8 "B", 1939-1941


Box 73 Folder 9 "C" Fight For Life, 1939-1941


Box 73 Folder 10 "C", 1939-1941


Box 73 Folder 11 The City (Scripts), 1939-1941


Box 73 Folder 12 "D" Fight For Life, 1939-1941


Box 73 Folder 13 De Kruif, 1939-1941


Box 73 Folder 14 "D", 1939-1941


Box 73 Folder 15 Flaherty, 1939-1941(Agricultural)


Box 73 Folder 16 "F", 1939-1941


Box 73 Folder 17 "G", 1939-1941


Box 73 Folder 18 to 19 Gercke (AAA), 1939-1941


Box 73 Folder 20 "G" Fight For Life, 1939-1941


Box 73 Folder 21 Samuel Goldwyn, 1939-1941


Box 73 Folder 22 Mr. Griswold, 1939-1941


Box 73 Folder 23 "H", 1939-1941


Box 73 Folder 24 Ivens (REA), 1939-1941


Box 73 Folder 25 J-K, 1939-1941


Box 73 Folder 26 "L", 1939-1941


Box 73 Folder 27 to 28 Locke, 1939-1941


Box 73 Folder 29 Lorentz (Personal), 1939-1941



Box 74 Folder 1 Lorentz (Misc), 1939-1941


Box 74 Folder 2 "M", 1939-1941


Box 74 Folder 3 "M" (AAA), 1939-1941


Box 74 Folder 4 to 5 Mercey, 1939-1941


Box 74 Folder 6 "M" Fight For Life, 1939-1941


Box 74 Folder 7 "N", 1939-1941


Box 74 Folder 8 Nosler, 1939-1941


Box 74 Folder 9 "O", 1939-1941


Box 74 Folder 10 "P" Fight For Life, 1939-1941


Box 74 Folder 11 "R", 1939-1941


Box 74 Folder 12 REA, 1939-1941 (Scripts), 1939-1941


Box 74 Folder 13 "S", 1939-1941


Box 74 Folder 14 "S" REA, 1939-1941


Box 74 Folder 15 "S" Fight For Life, 1939-1941


Box 74 Folder 16 "T" Fight For Life, 1939-1941


Box 74 Folder 17 "T", 1939-1941


Box 74 Folder 18 "U", 1939-1941


Box 74 Folder 19 "W", 1939-1941


Box 74 Folder 20 "W", 1939-1941 (REA), 1939-1941


Box 74 Folder 21 Atkins, 1938-1940


Box 74 Folder 22 Baker, 1938-1940


Box 74 Folder 23 Bartley, 1938-1940


Box 74 Folder 24 Bell, 1938-1940


Box 74 Folder 25 Beaton, 1938-1940


Box 74 Folder 26 Berger, 1938-1940


Box 74 Folder 27 Brennan, 1938-1940


Box 74 Folder 28 Bridgeman, 1938-1940


Box 74 Folder 29 Comfort, 1938-1940


Box 74 Folder 30 Clothier, 1938-1940


Box 74 Folder 31 Crosby, 1938-1940


Box 74 Folder 32 Davis, 1938-1940


Box 74 Folder 33 Davidson, 1938-1940


Box 74 Folder 34 Dildine, 1938-1940


Box 74 Folder 35 Doyle, 1938-1940


Box 74 Folder 36 Frumkin, 1938-1940


Box 74 Folder 37 Finley, 1938-1940


Box 74 Folder 38 Geer, 1938-1940


Box 74 Folder 39 Gercke, 1938-1940



Box 75 Folder 1 Griswold, 1938-1940


Box 75 Folder 2 Gray, 1938-1940


Box 75 Folder 3 Haynes, 1938-1940


Box 75 Folder 4 Henderson, 1938-1940


Box 75 Folder 5 Hughes, 1938-1940


Box 75 Folder 6 Howarth, 1938-1940


Box 75 Folder 7 Hamilton, 1938-1940


Box 75 Folder 8 Holcombe, 1938-1940


Box 75 Folder 9 Holt, 1938-1940


Box 75 Folder 10 Jahns, 1938-1940


Box 75 Folder 11 Johnson, 1938-1940


Box 75 Folder 12 Frank Lee, 1938-1940


Box 75 Folder 13 Locke, 1938-1940


Box 75 Folder 14 Lowrance, 1938-1940


Box 75 Folder 15 Lorentz, 1938-1940


Box 75 Folder 16 McCormick, 1938-1940


Box 75 Folder 17 Martin, 1938-1940


Box 75 Folder 18 Meyer, 1938-1940


Box 75 Folder 19 Mooney, 1938-1940


Box 75 Folder 20 Montgomery, 1938-1940


Box 75 Folder 21 Noodel, 1938-1940


Box 75 Folder 22 Nosler, 1938-1940


Box 75 Folder 23 Pruett, 1938-1940


Box 75 Folder 24 Pulman, 1938-1940


Box 75 Folder 25 Polvinale, 1938-1940


Box 75 Folder 26 Raymond, 1938-1940


Box 75 Folder 27 Redden, 1938-1940


Box 75 Folder 28 Roberts, 1938-1940


Box 75 Folder 29 Smith, 1938-1940


Box 75 Folder 30 Swenson, 1938-1940


Box 75 Folder 31 Service Certificates, 1938-1940


Box 75 Folder 32 Steinbeck, 1938-1940


Box 75 Folder 33 Thompson, 1938-1940


Box 75 Folder 34 Tucker, 1938-1940


Box 75 Folder 35 Thorne, 1938-1940


Box 75 Folder 36 Townsend, 1938-1940


Box 75 Folder 37 Walker, 1938-1940


Box 75 Folder 38 Wilhoit, 1938-1940


Box 75 Folder 39 Woit, 1938-1940


Box 75 Folder 40 Time and Leave Rules, 1938-1940


Box 75 Folder 41 to 46 Individual Travel Reports, 1938-1940



Box 76 Folder 1 to 28 Individual Travel Reports, 1938-1940


Box 76 Folder 29 Prints--Record, 1938-1940


Box 76 Folder 30 to 31 Sales Reports, 1938-1940



Box 77 Folder f.1 to 4 Sales Reports, 1938-1940


Subseries 3. U.S. Film Service, 1935-1949

The files from the U.S. Film Service contain office records, as well as correspondence with contributors to the government effort to document American conditions during the Great Depression. U.S. Film Service files are located here, but researchers should note that they are also scattered throughout this series.



Box 78 Folder 1 to 2 Footage, 1940-1941


Box 78 Folder 3 Financial, 1936-1940


Box 78 Folder 4 Budgets, 1937-1940


Box 78 Folder 5 Belmont Theater, 1940


Box 78 Folder 6 Bonneville, 1940



Box 79 Folder 1 Bridgeman, 1938-1939


Box 79 Folder 2 Krellberg, 1940-1941


Box 79 Folder 3 Lorentz Expenses, 1940


Box 79 Folder 4 Financial--Fight REA, 1939


Box 79 Folder 5 to 6 Applicants--General, 1938-1941


Box 79 Folder 7 Applicants--Technical, 1936-1941



Box 80 Folder 1 Film Service Property, 1940-1941


Box 80 Folder 2 Department of Commerce, 1937-1940


Box 80 Folder 3 to 10 Name Files--A-J, 1935-1938



Box 81 Folder 1 to 6 Name Files--R-Z, 1935-1938


Box 81 Folder 7 to 39 Name Files--A-M, 1936-1938



Box 82 Folder 1 to 7 Name Files--M-S, 1936-1938


Box 82 Folder 8 to 15 Name Files--B-N, 1936-1940



Box 83 Folder 1 to 12 Name Files--M-W, 1936-1940


Box 83 Folder 13 Automobile Research, 1941


Box 83 Folder 14 Oliver Griswold, 1938-1941


Box 83 Folder 15 Edwin Locke, 1938-1939


Box 83 Folder 16 Testimony, 1936-1939



Box 84 Folder 1 Stryker Card Files, 1940s


Box 84 Folder 2 Budget Presentation to House Committee, 1941



Box 85 Folder 1 American Veterans Committee, 1949


Box 85 Folder 2 Miscellaneous Notes, 1943-1948


Box 85 Folder 3 Miscellaneous Correspondence, 1947


Box 85 Folder 4 Miscellaneous Clippings, 1938-1942


Box 85 Folder 5 Distribution, 1938-1939


Box 85 Folder 6 Relay Reports, 1940


Box 85 Folder 7 Correspondence, 1939-1950


Box 85 Folder 8 U.S. Secretary of the Interior Correspondence, 1942-1946


Subseries 4. Personal Files, 1935-1947

. This subseries contains clippings, correspondence, and expense reports.



Box 86 Folder 1 American Film Center, 1935-1947


Box 86 Folder 2 Associated Realist Films, 1935-1947


Box 86 Folder 3 Association of School Film Libraries, 1935-1947


Box 86 Folder 4 Authors' Guild, 1935-1947


Box 86 Folder 5 Biographies--Lorentz, 1935-1947


Box 86 Folder 6 Invitations--Clubs and Associations, 1935-1947


Box 86 Folder 7 Invitations--Lectures, 1935-1947


Box 86 Folder 8 Howell, Soskin and Co., 1935-1947


Box 86 Folder 9 Judge, 1935-1947


Box 86 Folder 10 King Features, 1935-1947


Box 86 Folder 11 League of American Writers, 1935-1947


Box 86 Folder 12 Letters--Introduction, 1935-1947


Box 86 Folder 13 McCall's--General, 1935-1947


Box 86 Folder 14 McCall's--Fan Letters, 1935-1947



Box 87 Folder 1 McCall's--Wiese, Otis, 1935-1947


Box 87 Folder 2 McCall's--Contracts, 1935-1947


Box 87 Folder 3 Museum of Modern Art, 1935-1947


Official


Box 87 Folder 4 Department of the Interior, 1935-1947


Box 87 Folder 5 to 6 FSA, 1935-1947


Box 87 Folder 7 FWA, 1935-1947


Box 87 Folder 8 Nec, 1935-1947


Box 87 Folder 9 National Defense Council, 1935-1947


Box 87 Folder 10 RA, 1935-1947


Box 87 Folder 11 REA, 1935-1947


Box 87 Folder 12 USFS, 1935-1947


Box 87 Folder 13 The Players, 1935-1947


Box 87 Folder 14 Proposed Productions--John L. Sullivan, 1935-1947


Box 87 Folder 15 Proposed Productions--John Henry, 1935-1947


Box 87 Folder 16 Publicity--Personal, 1935-1947


Box 87 Folder 17 Requests--Reprint Rights, 1935-1947



Box 88 Folder 1 Requests--Movie-Making, 1935-1947


Box 88 Folder 2 Requests-Writing, 1935-1947


Box 88 Folder 3 Screen Directors Guild, 1935-1947


Box 88 Folder 4 Stackpole, Sons, 1935-1947


Box 88 Folder 5 Hollywood Trip, June-September 1939


Box 88 Folder 6 Trips-Key West, 1940


Box 88 Folder 7 Trips-London, 1935-1947


Box 88 Folder 8 Trips-West Virginia, 1935-1947


Box 88 Folder 9 William Morris Agency, 1935-1947


Box 88 Folder 10 United Nations, 1935-1947


Box 88 Folder 11 U.S. Camera--Fan Mail, 1935-1947


Box 88 Folder 12 U.S. Camera--T.J. Maloney, 1935-1947



Box 89 Folder 1 to 25 Personal Files, A-M, 1935-1947



Box 90 Folder 1 to 13 Personal Files, N-Z, 1935-1947


Subseries 5. General Files, 1930s-1948

Most of these records deal with the various federal agencies with which Lorentz collaborated.



Box 91 Folder 1 Dam Photos, 1937-1940


Box 91 Folder 2 to 3 TVA Photos, 1937-1940


Box 91 Folder 4 Carded Stills--A Million Men on Wheels, 1937-1940



Box 92 Folder 1 to 2 Tennessee Valley Authority, 1937-1940


Box 92 Folder 3 Bonneville Project, 1937-1940


Box 92 Folder 4 Academy Photo Offset, Inc., 1937-1940


Box 92 Folder 5 Advance Cine Equipment Co., 1937-1940


Box 92 Folder 6 to 7 AAA, 1937-1940


Box 92 Folder 8 Altec Service Corporation, 1937-1940


Box 92 Folder 9 Air Travel, 1937-1940


Box 92 Folder 10 Amusement Supply Company, Inc., 1937-1940


Box 92 Folder 11 Art Metal Construction, 1937-1940


Box 92 Folder 12 Appropriations, 1937-1940


Box 92 Folder 13 Auto, 1937-1940


Box 92 Folder 14 Bids, 1937-1940



Box 93 Folder 1 to 2 Contract--USFS Movie, 1937-1940


Box 93 Folder 3 Contracts--Gasoline, 1937-1940


Box 93 Folder 4 Express, 1937-1940



Box 94 Folder 1 Expense Vouchers, 1937-1940


Box 94 Folder 2 Procurement, 1937-1940


Box 94 Folder 3 Gasoline, 1937-1940


Box 94 Folder 4 to 5 Shipping Expenses, 1937-1940


Box 94 Folder 6 Telephone and Telegraph, 1937-1940


Box 94 Folder 7 Travel, 1937-1940


Martin's Files, 1937-1940


Box 94 Folder 8 Equipment Ordered Deluxe, 1937-1940


Box 94 Folder 9 Ecce Homo Selected Takes, 1937-1940


Box 94 Folder 10 Production #3--Assembled Film, 1937-1940


Box 94 Folder 11 Production #3--Screenings, 1937-1940


Box 94 Folder 12 Production #3--Key Nos., 1937-1940


Box 94 Folder 13 Prints Ordered De Luxe, 1937-1940


Box 94 Folder 14 Prints and Equipment In Stock Deluxe, 1937-1940


Box 94 Folder 15 Receipts Films, 1937-1940


Box 94 Folder 16 Railway Express, 1937-1940


Box 94 Folder 17 Shipments--Washington, 1937-1940


Box 94 Folder 18 Shipments--Misc., 1937-1940


Box 94 Folder 19 Work Orders, 1937-1940



Box 95 Folder 1 Academy Awards, 1937-1940


Box 95 Folder 2 Agriculture Department, 1937-1940


Box 95 Folder 3 American Documentary Films, 1937-1940


Box 95 Folder 4 American Film Center, 1937-1940


Box 95 Folder 5 American Magazine, 1937-1940


Box 95 Folder 6 Amkino Corporation, 1937-1940


Box 95 Folder 7 Association of Documentary Film Producers, 1937-1940


Box 95 Folder 8 Associated Press, 1937-1940


Box 95 Folder 9 Association of School Film Libraries, 1937-1940


Box 95 Folder 10 Bankhead-Jones Farm Tenant Act, 1937-1940


Box 95 Folder 11 Bangsbergh, Raymond, 1937-1940


Box 95 Folder 12 Best Film Company, 1937-1940


Box 95 Folder 13 Booklets and Releases, 1937-1940


Box 95 Folder 14 British Broadcasting Corporation, 1937-1940


Box 95 Folder 15 British Documentary Films, 1937-1940


Box 95 Folder 16 British-Gaumont Pictures Corp., 1937-1940


Box 95 Folder 17 Consolidated Film Industries, Inc., 1937-1940


Box 95 Folder 18 Educational Film Institute, 1937-1940


Box 95 Folder 19 Educational Information, 1937-1940


Box 95 Folder 20 ERPI--Royalty Prices, 1937-1940


Box 95 Folder 21 FSA Photographic Lab Price List, 1937-1940


Box 95 Folder 22 Federal and State Agency Directories, 1937-1940


Box 95 Folder 23 Film Daily, 1937-1940


Box 95 Folder 24 Films Incorporated, 1937-1940


Box 95 Folder 25 French Cinema Center, 1937-1940


Box 95 Folder 26 Frontier Films, 1937-1940


Box 95 Folder 27 Garrison Film Distributors, Inc., 1937-1940


Box 95 Folder 28 Goldwyn Studio West Coast Contract, 1937-1940


Box 95 Folder 29 Gootrad and Gootrad, 1937-1940


Box 95 Folder 30 Hollywood Motion Picture Institute, 1937-1940


Box 95 Folder 31 Housing Authority, 1937-1940



Box 96 Folder 1 Information Requests, 1937-1940


Box 96 Folder 2 Interior Department, 1937-1940


Box 96 Folder 3 International Cinema Institute, 1937-1940


Box 96 Folder 4 Jay Emanuel Publications, 1937-1940


Box 96 Folder 5 Jersey Homesteads, 1937-1940


Box 96 Folder 6 Labor Unions Government Employees, 1937-1940


Box 96 Folder 7 League for American Writers, 1937-1940


Box 96 Folder 8 Legislation, 1937-1940


Box 96 Folder 9 Liberty Magazine, 1937-1940


Box 96 Folder 10 Life, 1937-1940


Box 96 Folder 11 Look, 1937-1940


Box 96 Folder 12 MacFadden Publications, 1937-1940


Box 96 Folder 13 Maritime Commission, 1937-1940


Box 96 Folder 14 March of Time, 1937-1940


Box 96 Folder 15 MGM Corp., 1937-1940


Box 96 Folder 16 Metropolitan Motion Picture Council, 1937-1940


Box 96 Folder 17 Motion Picture Producers and Distributors of America, 1937-1940


Box 96 Folder 18 Modern Talking Picture Service, 1937-1940


Box 96 Folder 19 Motion Picture Corporations of America, 1937-1940


Box 96 Folder 20 Motion Picture Daily and Herald, 1937-1940


Box 96 Folder 21 Movie Information, 1937-1940


Box 96 Folder 22 Museum of Modern Art, 1937-1940


Box 96 Folder 23 Music Recording, 1937-1940


Box 96 Folder 24 National Board of Review, 1937-1940


Box 96 Folder 25 National Emergency Council, 1937-1940


Box 96 Folder 26 National Broadcasting Company, 1937-1940


Box 96 Folder 27 New Directions--James Laughlin IV, 1937-1940


Box 96 Folder 28 New Republic, 1937-1940


Box 96 Folder 29 New York Post, 1937-1940


Box 96 Folder 30 New York Times, 1937-1940



Box 97 Folder 1 Phonograph Records, 1937-1940


Box 97 Folder 2 President's Inaugural Address, 1937-1940


Box 97 Folder 3 Prisons, Bureau of, 1937-1940


Box 97 Folder 4 Requests for Advice, 1937-1940


Box 97 Folder 5 Reorganization Bill Text, 1937-1940


Box 97 Folder 6 Register and Tribune, Des Moines, 1937-1940


Box 97 Folder 7 RKO Radio Pictures, Inc., 1937-1940


Box 97 Folder 8 Screen Directors Guild, 1937-1940


Box 97 Folder 9 Seven Seas Film Corporation, 1937-1940


Box 97 Folder 10 Skouras Theatres Corp., 1937-1940


Box 97 Folder 11 Shock Troops of Disaster, 1937-1940


Box 97 Folder 12 Social Security Board, 1937-1940


Box 97 Folder 13 Soil Conservation Service, 1937-1940


Box 97 Folder 14 Roosevelt Address--"Children in a Democracy,", 1937-1940


Box 97 Folder 15 Staff Meeting Notes, 1937-1940


Box 97 Folder 16 State Department, 1937-1940


Box 97 Folder 17 Subcommittee Hearings, 1937-1940


Box 97 Folder 18 Theatre Arts Monthly, 1937-1940


Box 97 Folder 19 Time, Inc., 1937-1940


Box 97 Folder 20 Treasury Department, 1937-1940


Box 97 Folder 21 Treasury, Secretary of, 1937-1940


Box 97 Folder 22 Tygart Valley Data, 1937-1940


Box 97 Folder 23 United Artists, 1937-1940


Box 97 Folder 24 Universal Newsreel Company, 1937-1940


Box 97 Folder 25 United States Film Service, 1937-1940


Box 97 Folder 26 U.S. Government "Bill of Complaint" Against Movie Producer Monopolies,, 1937-1940



Box 98 Folder 1 U.S. Research Corporation, 1937-1940


Box 98 Folder 2 Variety, 1937-1940


Box 98 Folder 3 Visual Education, 1937-1940


Box 98 Folder 4 Warner Brothers, 1937-1940


Box 98 Folder 5 Wilding Picture Productions, 1937-1940


Box 98 Folder 6 Wilson Company, 1937-1940


Box 98 Folder 7 YWCA Motion Picture Bureau, 1937-1940


Box 98 Folder 8 Works Progress Administration, 1937-1940


Box 98 Folder 9 World's Fair, 1937-1940


Box 98 Folder 10 Travel Advances, 1937-1940


Box 98 Folder 11 DeBrie, Andre, Inc., 1937-1940


Box 98 Folder 12 Bell and Howell Company, 1937-1940


Box 98 Folder 13 American Recono, Inc., 1937-1940


Box 98 Folder 14 U.S. Despatch Agency, 1937-1940


Box 98 Folder 15 Tri-States Theatre Corp., 1937-1940


Box 98 Folder 16 Ruby Camera Company, 1937-1940


Box 98 Folder 17 Romeike Clipping Service, 1937-1940


Box 98 Folder 18 Railway Express, 1937-1940


Box 98 Folder 19 Pavelle Laboratories, 1937-1940


Box 98 Folder 20 Paramount News, 1937-1940


Box 98 Folder 21 Paramount Pictures Corp., 1937-1940


Box 98 Folder 22 Paramount Productions Inc., 1937-1940


Box 98 Folder 23 New York Telephone, 1937-1940


Box 98 Folder 24 Movietone News, 1937-1940


Box 98 Folder 25 Motion Picture Camera Supply Company, 1937-1940


Box 98 Folder 26 International Cinema, Inc., 1937-1940


Box 98 Folder 27 H.E.R. Laboratory, 1937-1940


Box 98 Folder 28 General Service, 1937-1940


Box 98 Folder 29 Emerson Electric, 1937-1940


Box 98 Folder 30 Eastern Service Studios, Inc., 1937-1940


Box 98 Folder 31 A.B. Dick Co., 1937-1940


Box 98 Folder 32 Music Publishers Protective Association, 1937-1940


Box 98 Folder 33 De Luxe Fire, 1937-1940


Box 98 Folder 34 DeLuxe Laboratories, 1937-1940



Box 99 Folder 1 De Luxe Orders, 1937-1940


Box 99 Folder 2 Boston Water Purifier, 1937-1940


Box 99 Folder 3 Akeley-Leventhal "Editor", 1937-1940


Box 99 Folder 4 Service Certificates, 1937-1940


Box 99 Folder 5 Personnel, 1937-1940


Box 99 Folder 6 Requisitions and Purchase Orders, 1937-1940


Box 99 Folder 7 Travel and Salary, 1937-1940


Box 99 Folder 8 Bill of Ladings, 1937-1940


Box 99 Folder 9 Current Bills--Production #3, 1937-1940


Box 99 Folder 10 Academy of Motion Picture Arts, 1938-1939


Box 99 Folder 11 AGFA ANSCO Corp., 1938-1939


Box 99 Folder 12 Air Travel, 1938-1939


Box 99 Folder 13 American Map Co., 1938-1939


Box 99 Folder 14 Angelica Jacket Co., 1938-1939


Box 99 Folder 15 Appropriations, 1938-1939


Box 99 Folder 16 Arrow Photo Service, 1938-1939


Box 99 Folder 17 Art Metal Construction, 1938-1939


Box 99 Folder 18 Automobiles--General, 1938-1939


Box 99 Folder 19 Bass Camera Co., 1938-1939


Box 99 Folder 20 Bell and Howell--Chicago, 1938-1939


Box 99 Folder 21 Bell and Howell--New York, 1938-1939


Box 99 Folder 22 Bell and Howell--Los Angeles, 1938-1939


Box 99 Folder 23 Bigelow Carpet Co., 1938-1939


Box 99 Folder 24 Boston Water Purifier, 1938-1939


Box 99 Folder 25 Brand, Paul, 1938-1939


Box 99 Folder 26 Breakdown, March 31, 1938-1939



Box 100 Folder 1 Brentano's Book Stores, 1938-1939


Box 100 Folder 2 Bridgeman, 1938-1939


Box 100 Folder 3 Bruno--New York, 1938-1939


Box 100 Folder 4 to 9 Budgets--Monthly, 1938-1939


Box 100 Folder 10 Burk's Service--Cleveland, 1938-1939


Box 100 Folder 11 Burroughs Welcome, 1938-1939


Box 100 Folder 12 Camera Equipment Co., 1938-1939


Box 100 Folder 13 Campbell, W.D., 1938-1939


Box 100 Folder 14 Capper and Capper Ltd., 1938-1939


Box 100 Folder 15 Chicago Film Labs, 1938-1939


Box 100 Folder 16 Carey Cadillac Co., 1938-1939


Box 100 Folder 17 Central Garage, 1938-1939


Box 100 Folder 18 Chicago Maternity, 1938-1939


Box 100 Folder 19 Civil Service, 1938-1939


Box 100 Folder 20 Columbia Broadcasting, 1938-1939


Box 100 Folder 21 Commercial Radio Sound, 1938-1939


Box 100 Folder 22 to 27 Contracts, 1938-1939


Box 100 Folder 28 Crown Curtain Company, 1938-1939


Box 100 Folder 29 Desks Inc., 1938-1939



Box 101 Folder 1 to 2 De Luxe Labs, 1938-1939


Box 101 Folder 3 A.B. Dick, 1938-1939


Box 101 Folder 4 Eastern Service Studios, 1938-1939


Box 101 Folder 5 to 7 Eastman Kodak, 1938-1939


Box 101 Folder 8 Elec. App. and Sales, 1938-1939


Box 101 Folder 9 Equitable Stationery Company, 1938-1939


Box 101 Folder 10 ERB Electrical, 1938-1939


Box 101 Folder 11 FSA Still Lab, 1938-1939


Box 101 Folder 12 Federal Offices--NY, 1938-1939


Box 101 Folder 13 Foreign Distribution, 1938-1939


Box 101 Folder 14 Sidney Friedman, 1938-1939


Box 101 Folder 15 Fyfe, Howard, 1938-1939


Box 101 Folder 16 GAO Decisions, 1938-1939


Box 101 Folder 17 to 18 General Electric, 1938-1939


Box 101 Folder 19 General Felt Prod., 1938-1939


Box 101 Folder 20 General Fireproofing, 1938-1939


Box 101 Folder 21 General Tire and Rubber, 1938-1939


Box 101 Folder 22 Gilbert Photo Service, 1938-1939


Box 101 Folder 23 Globe Wernicke, 1938-1939


Box 101 Folder 24 B.Goodrich, 1938-1939


Box 101 Folder 25 Gotham Book Mart, 1938-1939


Box 101 Folder 26 Grand Circus Garage Detroit, 1938-1939



Box 102 Folder 1 Harris, Leo, Inc., 1938-1939


Box 102 Folder 2 Haynes Griffin, 1938-1939


Box 102 Folder 3 Hertz Drivurself Stations, 1938-1939


Box 102 Folder 4 Huey Co., 1938-1939


Box 102 Folder 5 International Harvester, 1938-1939


Box 102 Folder 6 Kelly-Springfield, 1938-1939


Box 102 Folder 7 Lenauer International Film, 1938-1939


Box 102 Folder 8 Licensing Agreement, 1938-1939


Box 102 Folder 9 Lighting Company, 1938-1939


Box 102 Folder 10 Lloyd's Film Storage, 1938-1939


Box 102 Folder 11 Loop Shoppers Garage, 1938-1939


Box 102 Folder 12 Luce's Press Clippings, 1938-1939


Box 102 Folder 13 McInerney, W.A., 1938-1939


Box 102 Folder 14 MacIntosh and Sheridan, 1938-1939


Box 102 Folder 15 March of Time, 1938-1939


Box 102 Folder 16 Marshall Field, 1938-1939


Box 102 Folder 17 Midtown Chevrolet, 1938-1939


Box 102 Folder 18 Mitchell Camera Corp., 1938-1939


Box 102 Folder 19 Moviola Company, 1938-1939


Box 102 Folder 20 Motion Picture Camera Supply, 1938-1939


Box 102 Folder 21 National Emergency Council, 1938-1939


Box 102 Folder 22 National Theatre Supply, 1938-1939


Box 102 Folder 23 National Van Lines, 1938-1939


Box 102 Folder 24 NEC--1080s, 1938-1939


Box 102 Folder 25 Negative Reports, 1938-1939


Box 102 Folder 26 Neumade Products, 1938-1939


Box 102 Folder 27 New Loop End Garage Chicago, 1938-1939


Box 102 Folder 28 New York Telephone Co., 1938-1939


Box 102 Folder 29 New York Post Office, 1938-1939


Box 102 Folder 30 Office Equipment, 1938-1939


Box 102 Folder 31 Office Supplies, 1938-1939


Box 102 Folder 32 Paramount Pictures, 1938-1939


Box 102 Folder 33 Peerless Towel Supply, 1938-1939


Box 102 Folder 34 Phillips Petrol, 1938-1939


Box 102 Folder 35 Postal Telegraph, 1938-1939


Box 102 Folder 36 Preview Theatre, 1938-1939


Box 102 Folder 37 Precision Film Labs, 1938-1939


Box 102 Folder 38 Print Records, 1938-1939



Box 103 Folder 1 Rabsons Music and Camera, 1938-1939


Box 103 Folder 2 RCA Mfg. Company, 1938-1939


Box 103 Folder 3 RCA Communications, 1938-1939


Box 103 Folder 4 Rainbow Auto Painting, 1938-1939


Box 103 Folder 5 Rand McNally, 1938-1939


Box 103 Folder 6 Red Star Garage, 1938-1939


Box 103 Folder 7 Remington Rand, 1938-1939


Box 103 Folder 8 Rhoades, Chas. P., 1938-1939


Box 103 Folder 9 Romeike Clipping Bureau, 1938-1939


Box 103 Folder 10 Royal Typewriter Co., 1938-1939


Box 103 Folder 11 Ross Chas, Inc., 1938-1939


Box 103 Folder 12 Rural Electrification Administration, 1938-1939


Box 103 Folder 13 Sale of Footage, 1938-1939


Box 103 Folder 14 Santa Fe, 1938-1939


Box 103 Folder 15 Security Steel Equipment, 1938-1939


Box 103 Folder 16 Shell Oil, 1938-1939


Box 103 Folder 17 Siebel Co., 1938-1939


Box 103 Folder 18 Smith, L.C. and Corona, 1938-1939


Box 103 Folder 19 Schirmer, G., 1938-1939


Box 103 Folder 20 Schmidt, Alfred, 1938-1939


Box 103 Folder 21 Screen Actors Guild, 1938-1939


Box 103 Folder 22 Socony-Vacuum, 1938-1939


Box 103 Folder 23 Standard Forms, 1938-1939


Box 103 Folder 24 Standard Oil, 1938-1939


Box 103 Folder 25 Studio Lighting Co., 1938-1939


Box 103 Folder 26 Stott, Chas. G., 1938-1939


Box 103 Folder 27 Soil Conservation Camera Truck, 1938-1939


Box 103 Folder 28 Stromberg Electric, 1938-1939


Box 103 Folder 29 South America, 1938-1939


Box 103 Folder 30 Sloane, W. and J., 1938-1939


Box 103 Folder 31 Farm Security Service Certificates, 1937-1938


Box 103 Folder 32 347 Madison Avenue, 1938-1939


Box 103 Folder 33 Travel Advance, 1938-1939


Box 103 Folder 34 United Cinephone Corp., 1938-1939


Box 103 Folder 35 Universal Recording Co., 1938-1939


Box 103 Folder 36 Underwood Elliott Fisher Co., 1938-1939


Box 103 Folder 37 United Artists--Sound, 1938-1939


Box 103 Folder 38 Wabash Photo Lamp, 1938-1939


Box 103 Folder 39 Western Union, 1938-1939


Box 103 Folder 40 Wilding Pictures, 1938-1939


Box 103 Folder 41 WPA, 1938-1939



Box 104 Folder 1 Clippings--Reviews by Pare Lorentz, 1930s


Box 104 Folder 2 Clippings--Creation of U.S. Film Service, 1938-1942


Box 104 Folder 3 to 4 Clippings--Personal, 1940s


Box 104 Folder 5 Press Releases--Lorentz On Film, 1961


Box 104 Folder 6 Brentano's Book Stores, 1939-1940


Box 104 Folder 7 to 8 Bills of Lading, 1939-1940


Box 104 Folder 9 Boston Water Purifier, 1939-1940


Box 104 Folder 10 Brand, Paul L., 1939-1940


Box 104 Folder 11 to 12 Budgets, 1939-1940


Box 104 Folder 13 Camera Equipment Co., 1939-1940



Box 105 Folder 1 to 4 De Luxe Laboratories, 1939-1940


Box 105 Folder 5 A.B. Dick, 1939-1940


Box 105 Folder 6 Railway Express Co., 1939-1940


Box 105 Folder 7 Eastern Service Studios, 1939-1940


Box 105 Folder 8 to 10 Eastman Kodak, 1939-1940


Box 105 Folder 11 Equitable Stationery Co., 1939-1940


Box 105 Folder 12 Fox, Harry, 1939-1940



Box 106 Folder 1 Globe Wernicke, 1939-1940


Box 106 Folder 2 to 6 Goldwyn, 1939-1940


Box 106 Folder 7 Gulf Oil, 1939-1940


Box 106 Folder 8 Harris, Leo. Inc., 1939-1940


Box 106 Folder 9 Hawley Motor Company, 1939-1940


Box 106 Folder 10 Hertz, 1939-1940


Box 106 Folder 11 Kahn, Stephen, 1939-1940


Box 106 Folder 12 Kass Realty, 1939-1940


Box 106 Folder 13 Kelly Springfield, 1939-1940


Box 106 Folder 14 Lightning Co., 1939-1940


Box 106 Folder 15 Loop Shoppers, 1939-1940


Box 106 Folder 16 Lloyd's Film Storage, 1939-1940


Box 106 Folder 17 Luce's Press Clipping Service, 1939-1940


Box 106 Folder 18 Midtown Chevrolet, 1939-1940


Box 106 Folder 19 MoMA Film Library, 1939-1940


Box 106 Folder 20 National Cine Labs, 1939-1940


Box 106 Folder 21 NBC, 1939-1940


Box 106 Folder 22 New York Post Office, 1939-1940


Box 106 Folder 23 New York Telephone Co., 1939-1940


Box 106 Folder 24 Peerless Towel Supply, 1939-1940


Box 106 Folder 25 Procurement Division, 1939-1940


Box 106 Folder 26 Postal Telegraph, 1939-1940



Box 107 Folder 1 Requisitions, 1939-1940


Box 107 Folder 2 Red Star Garage, 1939-1940


Box 107 Folder 3 RCA Communications, 1939-1940


Box 107 Folder 4 RKO Radio Pictures, 1939-1940


Box 107 Folder 5 Sackett and Wilhelms, 1939-1940


Box 107 Folder 6 Sale of Footage, 1939-1940


Box 107 Folder 7 Sante Fe, 1939-1940


Box 107 Folder 8 Scales, Merwyn, 1939-1940


Box 107 Folder 9 Society of Motion Picture Engineers, 1939-1940


Box 107 Folder 10 Socony Vacuum, 1939-1940


Box 107 Folder 11 Standard Forms, 1939-1940


Box 107 Folder 12 Standard Oil--California, 1939-1940


Box 107 Folder 13 Standard Oil--Ohio, 1939-1940


Box 107 Folder 14 Strong, Edwin Inc., 1939-1940


Box 107 Folder 15 Surplus Property, 1939-1940


Box 107 Folder 16 347 Madison Avenue, 1939-1940


Box 107 Folder 17 Union Oil of California, 1939-1940


Box 107 Folder 18 United Artists--Sound, 1939-1940


Box 107 Folder 19 United Cinephone, 1939-1940


Box 107 Folder 20 to 25 Unity Films, 1939-1940


Box 107 Folder 26 Universal Recording Company, 1939-1940


Box 107 Folder 27 Western Union, 1939-1940



Box 108 Folder 1 "A", 1937-1947


Box 108 Folder 2 Air Transport Command, 1945-1946


Box 108 Folder 3 to 5 "B"-"D", 1937-1947


Box 108 Folder 6 De Luxe Labs, 1937-1947


Box 108 Folder 7 "F", 1937-1947


Box 108 Folder 8 Forty-Seven, 1947


Box 108 Folder 9 to 11 "G"-"I", 1937-1947


Box 108 Folder 12 Juilliard Script, 1937-1947



Box 109 Folder 1 "K", 1937-1947


Box 109 Folder 2 "L", 1937-1947


Box 109 Folder 3 Lorentz Address to UAW-CIO, 1947


Box 109 Folder 4 Invitations to Speak, 1937-1947


Box 109 Folder 5 Business Correspondence, 1947


Box 109 Folder 6 to 7 Correspondence--Alma Lorentz, 1937-1948


Box 109 Folder 8 Divorce Decree, 1943


Box 109 Folder 9 Personnel, 1937-1947


Box 109 Folder 10 to 13 Travel, 1937-1947


Box 109 Folder 14 "M", 1937-1947



Box 110 Folder 1 "N", 1937-1947


Box 110 Folder 2 National Film Cooperative, 1937-1947


Box 110 Folder 3 New York File, 1937-1947


Box 110 Folder 4 Nuremburg Trial, 1937-1947


Box 110 Folder 5 "P", 1937-1947


Box 110 Folder 6 Pare Lorentz Associates, 1937-1947


Box 110 Folder 7 Preview Theatre, 1937-1947


Box 110 Folder 8 "R", 1937-1947


Box 110 Folder 9 Reprint Requests, 1937-1947


Box 110 Folder 10 Correspondence--Roberts-Lorentz, 1937-1947


Box 110 Folder 11 REA, 1937-1947


Box 110 Folder 12 "S", 1937-1947



Box 111 Folder 1 to 2 "T"-"U", 1937-1947


Box 111 Folder 3 United Nations, 1937-1947


Box 111 Folder 4 to 5 U.S. Film Service, 1940-1941


Box 111 Folder 6 to 8 "V"-"Z", 1937-1947


Box 111 Folder 9 to 25 REA Personnel and Productions, 1930s



Box 112 Folder 1 AAA-Agricultural Picture #6, 1939


Box 112 Folder 2 America is a Farm Land Script, 1939


Box 112 Folder 3 to 12 Production Files, 1930s


Subseries 6. Pare Lorentz Associates, 1935-1978

These folders contain expense accounts, ledgers, billing, and other records relating to Lorentz's personal production company.



Box 113 Folder 1 Pare Lorentz Associates Formation Documents, 1948



Box 114 Folder 1 Expense Accounts, 1950


Box 114 Folder 2 Workmen's Compensation and NY Disability, 1950-1970


Box 114 Folder 3 NYS Disability Insurance, 1953-1976


Box 114 Folder 4 Weekly Payroll Record, 1950-1952


Box 114 Folder 5 Annual Audits, 1949-1977


Box 114 Folder 6 Financial Records, 1944-1945



Box 115 Folder 1 Liquidation of Pare Lorentz Associates, 1978


Box 115 Folder 2 Dissolution Papers, 1948


Box 115 Folder 3 Operation Trust Co., 1948-1952


Box 115 Folder 4 to 5 Balance Sheets, 1950



Box 116 Folder 1 Ledger, 1948-1978


Box 116 Folder 2 Corporate Records, 1947



Box 117 Folder 1 Accounts, 1955-1977


Box 117 Folder 2 Journal, 1947-1975


Box 117 Folder 3 Journal, 1976-1977



Box 118 Folder 1 to 5 Bills, 1936-1940



Box 119 Folder 1 to 11 Bills, 1940-1946



Box 120 Folder 1 Insurance, 1939-1946


Box 120 Folder 2 to 7 Taxes, 1935-1946


Box 120 Folder 8 Resettlement Administration--Pamphlets and Speeches, 1938


Box 120 Folder 9 to 10 Bridgeman, 1935-1936


Subseries 7. Subject Files, 1938-1979

Correspondence and research on assorted subjects, including an inquiry into the state of the Latin American film industry, as well as correspondence with Hubert Humphrey, Eleanor Roosevelt, and Eugene McCarthy.



Box 121 Folder 1 American Airlines Film, 1948


Box 121 Folder 2 Air Transport Command, 1950


Box 121 Folder 3 Anti-Defamation League of B'Nai Brith, 1976


Box 121 Folder 4 Canadian Correspondence, 1977


Box 121 Folder 5 "Cable Car Concerto,", 1948


Box 121 Folder 6 China--Rural Reconstruction Commission, 1948-1951


Box 121 Folder 7 Civil Affairs Division, 1948


Box 121 Folder 8 China Film--National Archives and Records Service, 1976


Box 121 Folder 9 Columbia River, 1946-1949


Box 121 Folder 10 Compton's Encyclopedia, 1969


Box 121 Folder 11 Democratic Party Convention Platform, 1960


Box 121 Folder 12 Documentary Films, 1948


Box 121 Folder 13 D--Miscellaneous, 1950-1974


Box 121 Folder 14 F--Miscellaneous, 1949-1973


Box 121 Folder 15 Faubus--Ward, 1958


Box 121 Folder 16 Creekmore Fath, 1972


Box 121 Folder 17 Festival del Popoli, 1962


Box 121 Folder 18 Fight For Survival , 1957-1962



Box 122 Folder 1 Film Forum, 1971-1977


Box 122 Folder 2 "The Forty-Niner,", undated


Box 122 Folder 3 Franco-American Audio-Visual Distribution Center, 1948-1949


Box 122 Folder 4 G--Miscellaneous, 1949-1972


Box 122 Folder 5 Gamesmanship, 1949-1950


Box 122 Folder 6 "The Good Neighbor,", 1948


Box 122 Folder 7 Leo Goodman, 1965-1970


Box 122 Folder 8 Philip Graham, 1949-1953


Box 122 Folder 9 H--Miscellaneous, 1965-1971


Box 122 Folder 10 Harvard, 1974


Box 122 Folder 11 Hubert Humphrey, 1951-1959


Box 122 Folder 12 Interior Department, 1949


Box 122 Folder 13 J--Miscellaneous, 1949-1975


Box 122 Folder 14 Justice Robert Jackson, 1949


Box 122 Folder 15 K--Miscellaneous, 1954-1978


Box 122 Folder 16 L--Miscellaneous, 1948-1978


Box 122 Folder 17 The Land, 1951


Box 122 Folder 18 Russell Lee, 1965


Box 122 Folder 19 Libel Suits, 1978-1979


Box 122 Folder 20 Library of Congress, 1976-1977



Box 123 Folder 1 Liveright, 1972-1973


Box 123 Folder 2 Lewis and Clark, 1951


Box 123 Folder 3 Pare Lorentz--Personal Family, 1955-1970


Box 123 Folder 4 M--Miscellaneous, 1949-1971


Box 123 Folder 5 Mc-Mac General Miscellaneous, 1949-1967


Box 123 Folder 6 Eugene McCarthy, 1968


Box 123 Folder 7 Minimum Wages, 1962


Box 123 Folder 8 Missouri River Valley, 1948-1949


Box 123 Folder 9 Museum of Modern Art, 1948-1977


Box 123 Folder 10 to 11 Name, Age and Occupation , 1942-1977


Box 123 Folder 12 National Air and Space Museum, 1972


Box 123 Folder 13 National Archives Conference on the Use of Audiovisual Archives, 1972


Box 123 Folder 14 Lloyd Nosler, 1948-1953


Box 123 Folder 15 O--Miscellaneous, 1953-1969


Box 123 Folder 16 P--Miscellaneous, 1949-1977


Box 123 Folder 17 Pacific Cinematheque, 1977


Box 123 Folder 18 Promotion of Lorentz Films, 1951-1975


Box 123 Folder 19 R--Miscellaneous, 1950-1969


Box 123 Folder 20 RAI, 1977



Box 124 Folder 1 Report From the World, 1950


Box 124 Folder 2 "The Rural Co-Op,", 1947-1949


Box 124 Folder 3 S--Miscellaneous, 1948-1970


Box 124 Folder 4 San Francisco International Film Festival, 1962


Box 124 Folder 5 Wallace Stegner Correspondence, 1961


Box 124 Folder 6 State of New York Atomic Authority, 1960


Box 124 Folder 7 Alden Stevens, 1968


Box 124 Folder 8 T--Miscellaneous, 1949-1976


Box 124 Folder 9 Tennessee Valley Authority, 1959


Box 124 Folder 10 U--Miscellaneous, 1950-1963


Box 124 Folder 11 UAW--Reuther, 1949-1971


Box 124 Folder 12 United Nations, 1949-1955


Box 124 Folder 13 to 14 UN--Recommendation for a Comprehensive Motion Picture and TV Production Program,, 1953-1955


Box 124 Folder 15 University Film Producers Association, 1962


Box 124 Folder 16 Florida Lecture, 1977


Box 124 Folder 17 University of Georgia, 1977



Box 125 Folder 1 A. Geo. Volck, 1938-1940


Box 125 Folder 2 W--Miscellaneous, 1948-1972


Box 125 Folder 3 John Horace Wear, 1953


Box 125 Folder 4 R. Kenly Webster--Re: KDKA Lawsuit, 1977-1978


Box 125 Folder 5 West Virginia University, 1969-1977


Box 125 Folder 6 Woody Guthrie Inquiries, 1975-1976


Box 125 Folder 7 W.J. Weatherby, 1969-1972


Box 125 Folder 8 Ben Raeburn, 1955


Box 125 Folder 9 WGBH Boston, 1955-1961


Box 125 Folder 10 WGBH Program--Radiation and the Federal Responsibility, 1962


Box 125 Folder 11 WGBH China, 1965-1966


Box 125 Folder 12 XYZ--Miscellaneous, 1951-1976


Box 125 Folder 13 Irving Yergin, 1948-1954


Box 125 Folder 14 Miscellaneous, 1968-1969



Box 126 Latin American Film, 1938-1940


Box 126 Folder 1 Letters to Ambassadors, 1938


Box 126 Folder 2 American Republics Line, 1939


Box 126 Folder 3 Thurman Arnold, 1930s


Box 126 Folder 4 Budget, 1940


Box 126 Folder 5 Cine Columbia, 1939


Box 126 Folder 6 South America--Clippings, 1938


Box 126 Folder 7 George Gercke, 1938-1939


Box 126 Folder 8 Gercke Memo to Lorentz, 1939


Box 126 Folder 9 Pare Lorentz, 1938-1939


Box 126 Folder 10 March of Time, 1939


Box 126 Folder 11 Arch A. Mercey, 1938


Box 126 Folder 12 Movie Research Report, 1938


Box 126 Folder 13 Music Research Report, 1938


Box 126 Folder 14 Pan American Union, 1939


Box 126 Folder 15 President's Message, 1939


Box 126 Folder 16 Recommendations on Movies, 1930s


Box 126 Folder 17 Production Budget Confidential, 1938


Box 126 Folder 18 Research Notes General, 1939


Box 126 Folder 19 Arthur Rothstein, 1939


Box 126 Folder 20 Department of State, 1939


Box 126 Folder 21 Clarence Stein, 1938-1939


Box 126 Folder 22 Tomlinson Articles, 1938


Box 126 Folder 23 Treaty Information, 1938


Box 126 Folder 24 Visual Education, 1940


Box 126 Folder 25 Clarence Wagener, 1938


Box 126 Folder 26 Sumner Welles, 1938-1939


Box 126 Folder 27 Latin America, 1938

Series VII: U.S. Army Air Forces, 1941-1947

During World War II, Lorentz directed the Overseas Technical Unit, which was detailed to gather footage to help American pilots spot landmarks and airstrips around the world. This series has maps, correspondence, journals, and photographs. It also contains scripts from several of the briefing films that were produced as guides for different routes. Large format Air Corps photos depict Africa, Iran, Arabia, India, Morocco, Egypt, Libya, Iceland, Labrador, England, and Scotland. Others are in France or unidentified.



Box 127 Folder 1 Maps, 1943-1945



Box 128 Folder 1 Correspondence, 1943-1945


Box 128 Folder 2 to 11 Stills, 1943-1945


Box 128 Folder 12 Reports, 1944-1945



Box 129 Folder 1 Lloyd Nosler, 1942-1943


Box 129 Folder 2 Production No. 5 "Back of the Yards,", 1947


Box 129 Folder 3 Personal and OTU Commendations, 1943-1945


Box 129 Folder 4 Personnel Records, 1945


Box 129 Folder 5 OTU - Air Transport Command Motion Picture Section, 1945


Box 129 Folder 6 Pare Lorentz Duty Record, 1942-1945


Box 129 Folder 7 to 8 OTU Air Transport Command, 1943-1945


Box 129 Folder 9 Activities Reports, 1945



Box 130 Folder 1 to 6 Briefing Scripts, 1944-1945



Box 131 Folder 1 to 3 Briefing Scripts, 1944-1945


Box 131 Folder 4 to 8 Consolidated Report of Shipments, January-May 1945



Box 132 Folder 1 to 6 Consolidated Report of Shipments, June-November 1945


Box 132 Folder 7 Pathé News Feature Orders for O.T.U Script of Movie, 1945


Box 132 Folder 8 to 16 Consolidated Report of Shipments, April-December 1944



Box 133 Folder 1 Clippings, 1945


Box 133 Folder 2 Maps, 1940s


Box 133 Folder 3 to 6 Daily Journal, March 1943-June 1944



Box 134 Folder 1 to 5 Daily Journal, July 1944-September 1945



Box 135 Folder 1 Daily Journal, October 1945-January 1946


Box 135 Folder 2 Catalogue of Still Picture Captions Mission No. 5, 1944


Box 135 Folder 3 Book of photos, 1944-1945


Box 135 Folder 4 Secret History of "Snowball,", 1944


Box 135 Folder 5 4-A. China, 1944-1945


Box 135 Folder 6 ATC--General, 1944-1945


Box 135 Folder 7 Historical Section, 1944-1945



Box 136 Folder 1 Pan Am, 1944-1945


Box 136 Folder 2 3. Europe, 1944-1945


Box 136 Folder 3 Progress of War, 1944-1945


Box 136 Folder 4 4-B. Pacific Ocean, 1944-1945


Box 136 Folder 5 Maps: ATC Official, 1944-1945


Box 136 Folder 6 Magazine Material, 1944-1945


Box 136 Folder 7 Personal Narratives, 1941-1942


Box 136 Folder 8 Prewar Aviation, 1944-1945


Box 136 Folder 9 ATC Pilot Training Films List, 1944-1945


Box 136 Folder 10 Air Transport Command, 1944-1945


Box 136 Folder 11 Research Notes And Reports, 1944-1945


Box 136 Folder 12 ATC Research Material, 1944-1945


Box 136 Folder 13 History--Overseas Technical Unit, 1944-1945



Box 137 Folder 1 Summary of Operations of the Air Transport Command, 1944-1945


Box 137 Folder 2 ICAO Regional Manual--North Atlantic, 1944-1945


Box 137 Folder 3 to 4 Pare Lorentz--Personal File, 1943-1945


Box 137 Folder 5 History of the Air Corps Ferrying Command, 1944-1945



Box 138 Folder 1 Overseas Technical Unit Historical Research, 1944-1945


Box 138 Folder 2 ATC Stills, 1944-1945


Box 138 Folder 3 ATC Files, 1944-1945


Box 138 Folder 4 Weather and Radio, 1944-1945



Box 139 Folder 1 History of the Ferrying Command, 1941-1942


Box 139 Folder 2 Publicity Materials, 1944-1945


Box 139 Folder 3 Special Orders, 1944-1945


Box 139 Folder 4 Consolidated Report of Shipments, 1945


Box 139 Folder 5 Correspondence, 1944-1945


Box 139 Folder 6 Consolidated Activities Report, 1945


Box 139 Folder 7 Mission Maps, 1944-1945



Box 140 War Department Films, 1947


Box 140 Folder 1 "Back of the Yards,", 1947


Box 140 Folder 2 Film Memo, 1947


Box 140 Folder 3 Cleveland Trip, 1947


Box 140 Folder 4 Miscellaneous Film Shooting Scripts, 1947


Box 140 Folder 5 "New Mail,", 1947


Box 140 Folder 6 Julliard School Scenario, 1947


Box 140 Folder 7 Production No. 7 "Big Steel,", 1947


Box 140 Folder 8 Production No. 9 "The Columbian,", 1947


Box 140 Folder 9 Production No. 12 "The New South,", 1947


Box 140 Folder 10 Production No. 13 "Freedom of the Press,", 1947


Box 140 Folder 11 Production No. 50 "This Was America,", 1947


Box 140 Folder 12 Production No. 51 "Germany and the World Today,", 1947


Box 140 Folder 13 Rural Co-op Film, 1947



Box 141 Folder 1 to 4 Air Corps Photos, 1943



Box 142 Folder 1 to 4 Air Corps Photos, 1944-1945

Series VIII: Atomic Power and Nuclear War, 1945-1982

This series contains files related to films and other work concerned with the issues of nuclear weaponry and atomic warfare.


Subseries 1. The Fight For Survival, 1949-1959

Research, drafts, and correspondence for an article Lorentz wrote for McCall's in 1957 are contained in these folders.



Box 143 Folder 1 United Nations Radiation Report, 1958


Box 143 Folder 2 to 5 The Fight For Survival Notebooks, 1956-1957


Box 143 Folder 6 Medical Correspondence, 1959



Box 144 Folder 1 Copyright, 1957


Box 144 Folder 2 to 4 Fallout Research, 1949-1959


Box 144 Folder 5 to 6 Correspondence and Clippings, 1954-1959


Box 144 Folder 7 to 8 Notes and Drafts, 1957


Box 144 Folder 9 Article in McCall's, 1957


Subseries 2. No Place To Hide, 1945-1950

Lorentz pictured this as a film about the dangers of the Hydrogen Bomb. "This is a motion picture," he explained, "that presents in dramatic form everything of importance concerning the atomic bomb and atomic energy that can be told the general public. It is not a scare movie, nor is it a propaganda film." After years spent trying to find funding, he had to abandon the project. The files contain correspondence, research, and screenplay drafts.



Box 145 Folder 1 Correspondence--Dr. David Bradley, 1948-1950


Box 145 Folder 2 Correspondence-Harold Young, 1945


Box 145 Folder 3 Correspondence-Miscellaneous, 1949-1950


Box 145 Folder 4 Contract--Atomic Energy Committee, 1948


Box 145 Folder 5 L.E. Brown and Co.--Contracts, 1949


Box 145 Folder 6 Estimated Production Costs, 1949-1950


Box 145 Folder 7 Original Outline, 1949-1950


Box 145 Folder 8 Clippings, 1949


Box 145 Folder 9 Suggestions, 1949-1950


Box 145 Folder 10 Final Corrections--Scientists, 1949


Box 145 Folder 11 to 12 Carbons, 1949-1950


Box 145 Folder 13 No Place To Hide , 1949-1950


Box 145 Folder 14 Drafts, 1949-1950


Box 145 Folder 15 My Brother's Keeper , 1949



Box 146 Folder 1 Atomic Research, 1948-1949


Box 146 Folder 2 to 3 Times Headlines Atomic and Hydrogen Bombs,, 1948-1949


Box 146 Folder 4 Atomic Energy, 1948-1949


Box 146 Folder 5 Bomb Bursts, 1948-1949


Box 146 Folder 6 D. Bradley--Notes, 1948-1949


Box 146 Folder 7 Clippings, 1948-1949


Box 146 Folder 8 to 9 William O. Douglas Speeches, 1948-1949


Box 146 Folder 10 E.W. Fager, 1948-1949


Box 146 Folder 11 Hydrogen Bomb and Miscellaneous, 1948-1949


Box 146 Folder 12 George C. Marshall, 1948-1949


Box 146 Folder 13 Men-Research N.P.T.H., 1948-1949


Box 146 Folder 14 Speeches, 1948-1949


Box 146 Folder 15 Edward Teller Site B, 1948-1949


Box 146 Folder 16 Harry Truman, 1949



Box 147 Folder 1 to 4 Bound Copies of Screenplay, 1949-1950


Box 147 Folder 5 No Place to Hide book by David Bradley,, 1948


Box 147 Folder 6 to 9 Screenplay Drafts, 1949


Box 147 Folder 10 Clippings, 1949


Box 147 Folder 11 Atomic Energy Commission Report, 1947-1948



Box 148 Folder 1 to 2 Screenplay Notes, 1949


Box 148 Folder 3 Research, 1949


Box 148 Folder 4 Loose Papers, 1949


Box 148 Folder 5 to 7 Screenplay Notes, 1949-1951


Box 148 Folder 8 Clippings, 1949


Box 148 Folder 9 Ninth Copy, 1949


Box 148 Folder 10 Tenth Copy, 1949


Box 148 Folder 11 First Draft, 1949



Box 149 Folder 1 to 2 Screenplay Drafts, 1949


Box 149 Folder 3 to 4 Treatment, 1949


Box 149 Folder 5 Research Materials, 1949


Subseries 3. Nuclear Energy Research, 1946-1982, undated

These papers contain correspondence, congressional reports, publications, conference notes, and government studies of nuclear fallout in Hiroshima and Nagisaki.


Box 149 Folder 6 Atomic Bombings of Hiroshima and Nagasaki, 1946



Box 150 Folder 1 Atoms For Peace, 1957


Box 150 Folder 2 Ralph Bunche, 1958


Box 150 Folder 3 Detroit Edison Reactor, 1957


Box 150 Folder 4 Robley D. Evans, 1948


Box 150 Folder 5 Leo Goodman (UAW), 1958


Box 150 Folder 6 to 7 International Conference on the Peaceful Use of Atomic Energy, 1951-1955


Box 150 Folder 8 Lorentz Notes, 1950s


Box 150 Folder 9 National Advisory Commission on Radiation, 1959


Box 150 Folder 10 Pacific Gas and Electric, 1969-1970


Box 150 Folder 11 The Quick and the Dead (NBC), 1950s


Box 150 Folder 12 Radiation: Fact and Controversy , 1962



Box 151 Folder 1 Radiation: Fact and Controversy , 1962


Box 151 Folder 2 Radiation Clips and Research, 1958-1962


Box 151 Folder 3 Radiation on Developing Organisms, 1957


Box 151 Folder 4 Walter Reuther, 1957


Box 151 Folder 5 Peace or Pestilience Proofs, 1950s


Box 151 Folder 6 Strauss and Libby Quotes, 1953


Box 151 Folder 7 to 8 UN Scientific Committee on the Effects of Radiation, 1955-1958



Box 152 Folder 1 U.S. Atomic Energy Commission News Releases, 1946


Box 152 Folder 2 to 3 Research Publications, 1947-1958


Box 152 Folder 4 Waste Disposal Hearings, 1959


Box 152 Folder 5 Windscale Accident, 1957


Box 152 Folder 6 World Government, 1948


Box 152 Folder 7 1958


Box 152 Folder 8 to 9 Miscellaneous, undated


Box 152 Folder 10 Research, 1955-1956



Box 153 Folder 1 Research Materials, 1947-1957


Box 153 Folder 2 Leo Goodman Testimony at Euratom Symposium, 1961


Box 153 Folder 3 "The PRDC Reactor,", 1960s


Box 153 Folder 4 to 5 Congressional Testimony, 1950s


Box 153 Folder 6 "Revista Medica,", 1964


Box 153 Folder 7 Research Materials, 1948-1959



Box 154 Folder 1 Research Materials, 1946-1956


Box 154 Folder 2 to 3 Congressional Hearings, 1957


Box 154 Folder 4 to 6 Congressional Hearings, 1959



Box 155 Folder 1 to 2 Congressional Hearings, 1959


Box 155 Folder 3 to 4 Atomic Energy Commission Publications, 1957


Box 155 Folder 5 to 6 Atomic Energy Commission Clippings, 1955-1957



Box 156 Folder 1 to 2 Atomic Energy Commission Publications, 1957



Box 157 Folder 1 Atomic Energy Commission Publications, 1958


Box 157 Folder 2 Fight For Survival Draft, 1950s


Box 157 Folder 3 Nuclear Research, 1956-1971


Box 157 Folder 4 Second International Conference on the Peaceful Uses of Atomic Energy,, 1958


Box 157 Folder 5 Research and Correspondence, 1955-1982


Box 157 Folder 6 Burlington Conference, 1958


Box 157 Folder 7 Atomic Energy Accidents, 1957-1958



Box 158 Folder 1 Leo Goodman Memos, 1963-1971


Box 158 Folder 2 United World Federalists--Atomic Energy Film, 1947-1951


Box 158 Folder 3 Fallout, 1955


Box 158 Folder 4 to 5 Research, 1955-1958


Box 158 Folder 6 Radioactive Isotopes in Physiology, 1955


Box 158 Folder 7 Euratom, 1964



Box 159 Folder 1 Hazards in the Industrial Environment, 1969-1970


Box 159 Folder 2 Atomic Research, 1950s


Box 159 Folder 3 Atomic Energy Commission, 1948

Series IX: McCall's, 1935-1941

Lorentz had a long-running collaboration with the editors at McCall's, having contributed film reviews to the magazine since the mid-1930s. In 1937, his lyrical essay about the flooding of the Mississippi – a piece of writing that eventually became the narration for The River – initially appeared there as a lead editorial. In the spring of 1941, he helped edit a series of special issues dedicated to questions of national defense. As usual, he was in stride with the needs of the administration in Washington, D.C., which was transitioning from domestic reforms to international preparedness.


Subseries 1. General Files, 1941

This subseries contains expense accounts, reader responses, reprint requests, and correspondence.



Box 160 Folder 1 to 6 Complimentary Copies, 1941 February-July


Box 160 Folder 7 Reprint List, 1941


Box 160 Folder 8 Manuscripts, Unsolicited, 1941


Box 160 Folder 9 Production Schedules, 1941


Box 160 Folder 10 to 14 Reader Response (5 of 7 Folders), 1941 February-July



Box 161 Folder 1 to 2 Reader Response (2 of 7 Folders), 1941 February-July


Box 161 Folder 3 Releases--Photographs, 1941


Box 161 Folder 4 Requisitions for Supplies, 1941


Box 161 Folder 5 Requests for Research Materials, 1941


Box 161 Folder 6 Telegrams, 1941


Box 161 Folder 7 to 28 Expense Accounts, 1941


Box 161 Folder 29 to 38 Travel, 1941


Box 161 Folder 39 to 59 Individuals, 1941



Box 162 Folder 1 to 23 Personnel, 1941


Subseries 2. Magazine Articles, 1941

. Drafts and clippings of articles inMcCall's,mostly related to homefront issues in the lead up to the war, are held in these folders.


Box 162 Folder 24 General, 1941


Box 162 Folder 25 Daniels--"Home Guard", 1941


Box 162 Folder 26 Copy--Articles, 1941


Box 162 Folder 27 Copy--Art Work, 1941


Box 162 Folder 28 Ideas--National Defense, 1941


Box 162 Folder 29 Lorentz--"Defense", 1941


Box 162 Folder 30 Davis--"Women in the War", 1941


Box 162 Folder 31 Taylor--"Credo Of An American Child", 1941



Box 163 Folder 1 to 2 Daniels, "Boomtown,", 1941


Box 163 Folder 3 Captions--"Boomtown,", 1941


Box 163 Folder 4 Nickerson, "Fighting Forces,", 1941


Box 163 Folder 5 Taylor, "Children On Wheels,", 1941


Box 163 Folder 6 Burlingame, "Industrial Story,", 1941



Box 164 Folder 1 Burlingame--"Industrial Story", 1941


Box 164 Folder 2 Davis--"Women They Left Behind Them", 1941


Box 164 Folder 3 Captions--"Valley of Steel", 1941


Box 164 Folder 4 Caldwell--"Flight From the Land", 1941


Box 164 Folder 5 Bradford--"God in America", 1941


Box 164 Folder 6 "Children On the Land", 1941


Box 164 Folder 7 Liebling--"Propaganda Story", 1941



Box 165 Folder 1 Bemelmans--"Panama", 1941


Box 165 Folder 2 Langeweische--"Youth in the Air", 1941


Box 165 Folder 3 Walker--"Youth Training", 1941


Box 165 Folder 4 Wiese and Taylor--"Youth Conferences, 1941


Box 165 Folder 5 Youth--June, 1941


Box 165 Folder 6 Winslow--"Sixth Column of Disease", 1941


Box 165 Folder 7 "Army Questionnaire", 1941


Box 165 Folder 8 Bemelmans--"The Caribbean", 1941


Box 165 Folder 9 "A Day in the Life of a Squad", 1941


Box 165 Folder 10 Lorentz--"The Army and the People", 1941


Box 165 Folder 11 Nickerson--"Where Do We Go From Here?", 1941


Box 165 Folder 12 "One Year of Defense", 1941


Box 165 Folder 13 Reader Letters, 1941


Subseries 3. Research, 1935-1941

This subseries contains sources and background information for magazine articles.


Box 165 Folder 14 to 15 Research Files, 1940-1941



Box 166 Folder 1 to 15 Research Files, 1939-1941


Box 166 Folder 16 to 25 Research Sources, 1935-1940



Box 167 Folder 1 to 9 Research Sources, 1935-1940


Subseries 4. Articles by Pare Lorentz, 1936-1941

This subseries contains copy material from Lorentz's own journalistic works.


Box 167 Folder 10 to 10 Copy Material, 1936-1937



Box 168 Folder 1 to 4 Copy Material, 1938-1941


Box 168 Folder 5 Miscellaneous Articles, undated


Box 168 Folder 6 National Defense Section, 1941


Subseries 5. McCall's Issues and Bound Volumes,, 1936-1941

Volumes of the magazine, flagged occasionally to mark Lorentz's articles, are contained in this subseries.



Box 169 Folder 1 to 3 Bound Volumes, 1936-1937



Box 170 Folder 1 to 7 McCall's Issues, 1941

Series X: General, 1914-1994, undated

This series contains other materials, including personal correspondence, files, and records spanning Lorentz's entire career.


Subseries 1. Correspondence, 1914-1990, undated

. There is some correspondence here between Lorentz and Jogn Steinbeck, as well as material related to Lorentz's chapter on his relationship with Steinbeck for his autobiography, FDR's Moviemaker. Letters between Lorentz and Elizabeth Meyer, his second wife, appear here. The Frederic Delano folders contain correspondence between Delano – uncle to the President – and his acquaintances, not with Lorentz himself.


John Steinbeck



Box 171 Folder 1 John Steinbeck, 1938-1941


Box 171 Folder 2 Re: John Steinbeck, 1983-1990


Box 171 Folder 3 to 4 Drafts--"John Steinbeck, A Working Friendship: 1938-1942", undated


Box 171 Folder 5 FDR's Moviemaker , undated



Box 17 Folder 2 Press Materials For Steinbeck Films, 1950-1952



Box 172 Folder 1 to 13 Elizabeth Meyer, 1941-1953, undated


Frederic A. Delano, 1914-1939



Box 173 Folder 1 New York City--Board of Estimate--Committee on the City Plan Report,, 1914


Box 173 Folder 2 November 1920


Box 173 Folder 3 1921


Box 173 Folder 4 to 11 1922


Box 173 Folder 12 to 19 1923



Box 174 Folder 1 to 7 1924


Box 174 Folder 8 to 17 1925


Box 174 Folder 18 to 23 1926



Box 175 Folder 1 to 9 1927


Box 175 Folder 10 to 19 1928


Box 175 Folder 20 to 28 1929



Box 176 Folder 1 to 8 1930


Box 176 Folder 9 to 13 1931


Box 176 Folder 14 to 17 1932


Box 176 Folder 18 1933


Box 176 Folder 19 1934


Box 176 Folder 20 1935-1936


Box 176 Folder 21 1939


Subseries 2. KDKA Suit, 1942-1983

In 1977, Radio Station KDKA in Pittsburgh broadcast an interview with a man who claimed to have been an undercover FBI-agent during the New Deal. This agent, who referred to himself as "Dominic," named Lorentz as a Communist. Lorentz sued the station. During the trial it was revealed that "Dominic" was in fact Joseph Mazzei, a man with a "criminal record" and a history of perjury, whom the U.S. Supreme Court had already diagnosed with a "pathological condition." Westinghouse, KDKA's parent company sent Lorentz a check for $25,000 and a written apology, acknowledging "the distinguished list of your lifetime accomplishments which clearly demonstrates your outstanding record as an American citizen." Contains trial transcripts, court records, and correspondence.



Box 177 Folder 1 Trial Materials, 1953-1978


Box 177 Folder 2 Legal Correspondence, 1978-1979


Box 177 Folder 3 KDKA Legal, 1977-1979


Box 177 Folder 4 KDKA Pittsburgh, 1977-1979


Box 177 Folder 5 Misc. Notes Re: KDKA, 1977-1979


Box 177 Folder 6 to 7 Background, 1977-1979


Box 177 Folder 8 William Donovan, 1977-1979


Box 177 Folder 9 Credits, 1977-1979


Box 177 Folder 10 Notes Regarding Article, 1977-1979


Box 177 Folder 11 Expenses, 1977-1979


Box 177 Folder 12 KDKA--Money, 1977-1979


Box 177 Folder 13 Rose Schmidt Dixon Hasley and White, 1977-1979


Box 177 Folder 14 Court Dismissal Documents, 1977-1979


Box 177 Folder 15 Personal Letters, 1977-1979


Box 177 Folder 16 KDKA, 1977-1979


Box 177 Folder 17 RKO Law Suit, 1941-1948


Box 177 Folder 18 KDKA, 1977-1979



Box 178 Folder 1 Trial Documents, 1979


Box 178 Folder 2 Pare Lorentz Affidavit, 1979


Box 178 Folder 3 to 4 Pare Lorentz Deposition, 1978


Box 178 Folder 5 Kennedy Webster and Gardner, 1977-1983


Box 178 Folder 6 Radio Show Transcript, 1977-1978



Box 179 Folder 1 Transcript of Show, 1977


Box 179 Folder 2 Motion for Summary Judgment, 1978


Box 179 Folder 3 PL Affidavit, 1978


Box 179 Folder 4 FBI Report, 1977-1979


Box 179 Folder 5 Supreme Court Decision, 1956


Box 179 Folder 6 Pre-Trial Narrative, 1978


Box 179 Folder 7 Plaintiff's Rebuttal, 1979


Box 179 Folder 8 to 10 Law Suit RKO, 1942-1947


Subseries 3. Conferences--Ceremonies--Presentations, 1944-1994

This subseries contains papers and correspondence related to various public events, including "The Conference that Never Was Held." A planned international summit to discuss global issues that was cancelled after President Roosevelt died. Fifty years later it finally occurred as the Rio conference.



Box 180 Folder 1 Suffield Connecticut Writers Conference, 1972


Point Four Program and Conference, 1948-1952


Box 180 Folder 2 Correspondence, 1948-1951


Box 180 Folder 3 Conference Meeting, 1952


Box 180 Folder 4 Conference Publications, 1952


Box 180 Folder 5 Conference Notes, 1952


The Conference that Never was Held, 1944-1994


Box 180 Folder 6 Correspondence and Research, 1944-1994 (1 of 4 Folders), 1944-1994



Box 181 Folder 1 to 3 Correspondence and Research, 1944-1994 (3 of 4 Folders), 1944-1994


Box 181 Folder 4 to 5 Correspondence with Adlai Stevension, 1957


Box 181 Folder 6 Speech Notes, 1972


Box 181 Folder 7 Presentation at University of Wisconsin-Oshkosh, 1971


Box 181 Folder 8 Dedication of Pare Lorentz Room at University of Wisconsin-Oshkosh, 1974


Box 181 Folder 9 Department of Agriculture AWARD, 1963



Box 182 Folder 1 West Virginia Wesleyan, 1972


Box 182 Folder 2 American School England, 1960


Subseries 4. Writings about Pare Lorentz, 1965-1979

Includes several dissertations and masters theses on Lorentz, including the various works by Robert Snyder. Also located here is an oral history interview from the 1970s, and Lest We Forget a genealogical pamphlet written by Lorentz's "aunt" Bess. Some letters are from fifth graders who wrote Lorentz to tell them how much they enjoyed a classroom viewing ofThe River.


Box 182 Folder 3 A History of the Early Productions of Pare Lorentz and the U.S. Film Service 1935-1940 by Robert L. Snyder, 1965, 1935-1940, 1965


Box 182 Folder 4 Final Chapter of Snyder Dissertation, 1965


Box 182 Folder 5 to 6 Films of Merit by Robert Snyder, 1965



Box 183 Folder 1 Letters to Pare Lorentz Commenting on Snyder Dissertation, 1968


Box 183 Folder 2 The Early Productions of Pare Lorentz by Robert Snyder,, 1965


Box 183 Folder 3 An Analysis of the Visual Portion of the U.S. Documentary Film The River by William Fleming, 1966


Box 183 Folder 4 The Contextual and Stylistic Relations in the River: A Pare Lorentz Film by Ferne Liverance Galantai, 1979


Box 183 Folder 5 A Critical Study of The River by Sister Paula Reiten,, 1970



Box 184 Folder 1 Lest We Forget by Bess Lorentz Wade, 1968


Box 184 Folder 2 Conversations with Pare Lorentz, 1976



Box 17 Folder 1 West Virginia Hillbilly , 1979


Subseries 5. The Days of F. D. R., 1942-1978

. This subseries contains notes and accounting records related to a proposed project to trace Franklin Roosevelt's daily movements over the course of his presidency.



Box 184 Folder 3 FDR Day By Day, 1942-1943


Box 184 Folder 4 to 5 Cost Information Concerning The Days of Franklin D. Roosevelt: A Chronicle,, 1948-1978


Box 184 Folder 6 to 7 Accounting Information, 1947-1978



Box 185 Folder 1 Audit, 1978


Box 185 Folder 2 Roosevelt Book, 1977-1978


Subseries 6. General, 1941-1974

These records include a screenplay for the film,Citizen Kane.


Box 185 Folder 3 Screenplay for Citizen Kane, 1941


Box 185 Folder 4 Paul Strand, 1974

Series XI: Digitized Negatives, 1930s, undated

This series contains digitized images of negatives from the 1930s. Many are frames from Lorentz' movies, including the famous "Day Walk/Night Walk" sequences from Fight For Life. Others are still photos taken on set. Some were originally stills taken by photographers from the Farm Security Administration, the Resettlement Administration, and the U.S. Film Service.


Digitized Negatives- Access in Repository