As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them.[38] In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel.[39][40] However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced.[41]Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse.[42] After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management.[43]
With the loss of the theater chain, Paramount Pictures went into a decline, cutting studio-backed production, releasing its contract players, and making production deals with independents. By the mid-1950s, all the great names were gone; only Cecil B. DeMille, associated with Paramount since 1913, kept making pictures in the grand old style. Despite Paramount's losses, DeMille would, however, give the studio some relief and create his most successful film at Paramount, a 1956 remake of his 1923 film The Ten Commandments.[55] DeMille died in 1959. Like some other studios, Paramount saw little value in its film library and sold 764 of its pre-1950 films to MCA Inc./EMKA, Ltd. (known today as Universal Television) in February 1958.[56]
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The Paramount specialty was now simpler. "high concept" pictures such as Saturday Night Fever and Grease hit big, hit hard and hit fast all over the world,[61] while its fortuitous earlier acquisition of the Star Trek property, which had grown into a cult favorite, enabled Paramount to have a long running science fiction film and television franchise to compete with the outstanding popular success of Star Wars. Diller's television background led him to propose one of his longest-standing ideas to the board: Paramount Television Service, a fourth commercial network. Paramount Pictures purchased the Hughes Television Network (HTN) including its satellite time in planning for PTVS in 1976. Paramount sold HTN to Madison Square Garden in 1979.[62] But Diller believed strongly in the concept, and so took his fourth-network idea with him when he moved to 20th Century Fox in 1984, where Fox's then freshly installed proprietor, Rupert Murdoch was a more interested listener.
Paramount's successful run of pictures extended into the 1980s and 1990s, generating hits like Airplane!, American Gigolo, Ordinary People, An Officer and a Gentleman, Flashdance, Terms of Endearment, Footloose, Pretty in Pink, Top Gun, Crocodile Dundee, Fatal Attraction, Ghost, the Friday the 13th slasher series, as well as teaming up with Lucasfilm to create the Indiana Jones franchise. Other examples are the Star Trek film series and a string of films starring comedian Eddie Murphy like Trading Places, Coming to America and Beverly Hills Cop and its sequels. While the emphasis was decidedly on the commercial, there were occasional less commercial but more artistic and intellectual efforts like I'm Dancing as Fast as I Can, Atlantic City, Reds, Witness, Children of a Lesser God and The Accused. During this period, responsibility for running the studio passed from Eisner and Katzenberg to Frank Mancuso, Sr. (1984) and Ned Tanen (1984) to Stanley R. Jaffe (1991) and Sherry Lansing (1992). More so than most, Paramount's slate of films included many remakes and television spin-offs; while sometimes commercially successful, there have been few compelling films of the kind that once made Paramount the industry leader.
On December 11, 2005, the Paramount Motion Pictures Group announced that it had purchased DreamWorks SKG (which was co-founded by former Paramount executive Jeffrey Katzenberg) in a deal worth $1.6 billion. The announcement was made by Brad Grey, chairman and CEO of Paramount Pictures who noted that enhancing Paramount's pipeline of pictures is a "key strategic objective in restoring Paramount's stature as a leader in filmed entertainment."[89] The agreement did not include DreamWorks Animation SKG Inc., the most profitable part of the company that went public the previous year.[90]
Work, school, and leisure activities in the United States from 1894 to 1915 are featured in this presentation of 150 motion pictures. Highlights include films of the United States Postal Service from 1903, cattle breeding, fire fighters, ice manufacturing, logging, calisthenic and gymnastic exercises in schools, amusement parks, boxing, expositions, football, parades, swimming, and other sporting events.
America at Work, America at Leisure: Motion Pictures from 1894-1915 consists of 150 motion pictures, 62 of which also appear in other online collections. The majority of the films are from the Paper Print Collection, while the remainder are from the George Kleine Collection, both residing in the Motion Picture, Broadcasting and Recorded Sound Division (M/B/RS) of the Library of Congress. Both of these collections have printed catalogs available in the Motion Picture and Television Reading Room at the Library. The films were selected from these two collections on the basis of the activities pictured in the films and the quality of the available prints. As many different types of work, school, and leisure activities as could be found were sought in order to show the broadest possible representation of activities at the turn of the century. The selection is limited, however, by what is available from these collections; not every possible occupation or leisure activity from the turn of the century is represented.
The films in the Paper Print Collection were deposited for copyright from 1894 to 1912 as positive pictures on paper. Many were deposited in this manner on paper rolls frame by frame. For preservation and access purposes, the Library of Congress has made 16mm prints of these Paper Print titles, and has more recently been making 35mm prints of selected titles. For this presentation, 35mm and 16mm prints have been used as the original source material for digitization. Many of the 35mm prints have been produced especially for this Web presentation.
The following is a listing of pictures electronically placed on the phonograph records which are carried onboard the Voyager 1 and 2 spacecraft. The contents of the record were selected for NASA by a committee chaired by Carl Sagan of Cornell University, et. al. Dr. Sagan and his associates assembled 115 images and a variety of natural sounds, such as those made by surf, wind and thunder, birds, whales, and other animals. To this they added musical selections from different cultures and eras, and spoken greetings from Earth-people in fifty-five languages, and printed messages from President Carter and U.N. Secretary General Waldheim. Each record is encased in a protective aluminum jacket, together with a cartridge and a needle. Instructions, in symbolic language, explain the origin of the spacecraft and indicate how the record is to be played. The 115 images are encoded in analog form. The remainder of the record is in audio, designed to be played at 16-2/3 revolutions per minute. It contains the spoken greetings, beginning with Akkadian, which was spoken in Sumer about six thousand years ago, and ending with Wu, a modern Chinese dialect. Following the section on the sounds of Earth, there is an eclectic 90-minute selection of music, including both Eastern and Western classics and a variety of ethnic music. Once the Voyager spacecraft leave the solar system, they will find themselves in empty space. It will be forty thousand years before they make a close approach to any other planetary system.
The diagram of male and female image is one of the pictures electronically placed on the phonograph records which are carried onboard the Voyager 1 and 2 spacecraft.Credit: Jon Lomberg
Please note that these images are copyright protected. Reproduction without permission of the copyright holder is prohibited.
The selected pictures listed below are among the audiovisual holdings of the Still Picture Branch of the National Archives that relate to the American Revolution. The images document the progression of the war, after the Revolution, and portraits of prominent individuals. The records are photographic copies of works of art. The dates, mediums of the originals, and the names of the artists are given wherever it has been possible to determine them. The images on this list are within the public domain and have no Use Restrictions. Many pictures related to the American Revolution are not listed here, and have not yet been digitized. Separate inquiries about additional images should be as specific as possible listing names, dates, places, events, and other details. To request more information or related images not included in this list, please contact the Still Picture Branch at the contact information below. Charlotte A. Palmer researched, selected, and arranged the material for this list in 1972. Minor updates and revisions to this introduction were completed as recently as May 2021. ff782bc1db
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