National Film Registry 2002

FILMS SELECTED TO
THE NATIONAL FILM REGISTRY,
LIBRARY OF CONGRESS - 2002

1) Alien (1979)

2) All My Babies (1953)

3) The Bad and the Beautiful (1952)

4) Beauty and the Beast (1991)

5) The Black Stallion (1979)

6) Boyz N the Hood (1991)

7) Theodore Case Sound Test: Gus Visser and his Singing Duck (1925)

8) The Endless Summer (1966)

9) From Here to Eternity (1953)

10) From Stump to Ship (1930)

11) Fuji (1974)

12) In the Heat of the Night (1967)

13) Lady Windermere's Fan (1925)

14) Melody Ranch (1940)

15) The Pearl (1948)

16) Punch Drunks (1934)

17) Sabrina (1954)

18) Star Theatre (1901)

19) Stranger Than Paradise (1984)

20) This is Cinerama (1952)

21) This is Spinal Tap (1984)

22) Through Navajo Eyes (series) (1966)

23) Why Man Creates (1968)

24) Wild and Wooly (1917)

25) Wild River (1960)

==========================================================================

Librarian of Congress Names 25 More Films to National Film Registry

Under the terms of the National Film Preservation Act,
each year the Librarian of Congress names 25
"culturally, historically or aesthetically" significant motion
pictures to the Registry. The list is designed to reflect
the full breadth and diversity of America's film heritage,
thus increasing public awareness of the richness of
American cinema and the need for its preservation.
As Dr. Billington said, "Our film heritage is America's
living past. It celebrates the creativity and inventiveness
of diverse communities and our nation as a whole. By
preserving American films, we safeguard a significant
element of our cultural history."

This year's selections span the 20th century from 1901 to
1991, and encompass films ranging from Hollywood classics
to lesser-known, but still vital, works. Among films named this
year: "Alien," the influential, spine-tingling sci fi film
where one learns that "in space no one can hear you scream;"
"All My Babies," George Stoney's landmark educational film
used to educate midwives in Georgia and throughout the South;
"The Bad and the Beautiful," featuring Kirk Douglas as a
ruthless film producer in one of Hollywood's most memorable
examinations of its culture;" "The Black Stallion," Carroll Ballard's
evocative and visually stunning children's classic; "Endless Summer,"
Bruce Brown's droll documentary of two surfers and their 4 Seasons,
around-the-world quest for The Perfect Wave; the film made millions
despite an unorthodox distribution strategy;" From Stump to Ship,"
a once forgotten 1930 logging film which has become a touchstone of
cultural identity for Maine residents; "Fuji," Robert Breer's avant-garde
replication (blending techniques of rotoscope, live-action imagery and
line drawing) of a train ride past Mt. Fuji; the electrifying 1967 social
drama "In the Heat of the Night , where Sidney "They Call Me Mister
Tibbs" Poitier solves a crime his way;" "Melody Ranch," one of the
best vehicles for the first singing cowboy Gene Autry; "The Pearl, a
landmark among the English language Mexican classics released for
Hispanic audiences in the United States; features breath-taking
cinematography by Gabriel Figueroa;" "The Star Theatre," a
dazzling 1901 time-lapse special effects film showing demolition
of this New York City theatre; "Theodore Case Sound Tests: Gus
Visser and his Duck" and "This is Cinerama," two films illustrating
technical innovation in cinema, in addition to being highly entertaining;
"This is Spinal Tap," Rob Reiner's deft "mockumentary" parady of a
fictitious, touring heavy metal band who place their faith in
"the amplifier which goes to 11;" "Through Navajo Eyes, a pioneering
series of anthropological films;" "Why Man Creates," legendary film
title sequence designer Saul Bass' animated paean to the concept
of creativity; and "Wild and Wooly," one of the films which created
Douglas Fairbanks' film persona, in this film showcasing his hilarious
personal odyssey from effete Easterner to courageous, virile Man of
the West.

The Librarian chose this year's titles after evaluating nearly a thousand
titles nominated by the public and following intensive discussions, both
with the distinguished members and alternates of his advisory body,
the National Film Preservation Board, whom the Librarian consults
both on Registry film selection and national film preservation policy,
and the Library's own Motion Picture Division staff.

Dr. Billington lauded recent landmark developments in the film preservation
field, including 1) ongoing development of the National Audio-Visual
Conservation Center in Culpeper, Virginia (being built with the generous support
of the Packard Humanities Institute) , which will open in 2005 as
possibly the world's pre-eminent audio-visual preservation and
research facility and 2) the Moving Image
Collections (MIC), a joint project of the Library of Congress,
Association of Moving Image Archivists,
Rutgers University, Georgia Tech, University of Washington
and numerous other institutions).This project recently
received a $900,000 grant from the National Science Foundation
to begin creation of the nation's first online integrated catalog of
moving images, a web-based access gateway to invaluable moving
images held at archives throughout the world. Of this project,
noted film critic and historian Leonard Maltin remarked,
"Film researchers, archivists and buffs around the world have been
eagerly awaiting the day when one could determine, easily and
definitively, which films exist and where. It's high time for this project
to come to fruition."

Regarding the National Film Registry, Dr. Billington observed that
"The films we choose are not necessarily either the 'best' American
films ever made or the most famous. But they are films that continue
to have cultural, historical or aesthetic significance -- and in many
cases represent countless other films also deserving of recognition.
The selection of a film, I stress, is not an endorsement of its ideology
or content, but rather a recognition of the film's importance to American
film and cultural history and to history in general."

"Taken together, the 350 films in the National Film Registry represent
a stunning range of American filmmaking – including Hollywood features,
documentaries, avant-garde and amateur productions, films of regional
interest, ethnic, animated, and short film subjects -- all deserving
recognition, preservation and access by future generations. As we begin
this new millennium, the Registry stands among the finest summations of
American cinema's wondrous first century," said Dr. Billington.

This key component of American cultural history, however, remains a
legacy with much already lost or in peril. Dr. Billington added: "In spite
of the heroic efforts of archives, the motion picture industry and others,
America's film heritage, by any measure, is an endangered species.
Fifty percent of the films produced before 1950 and 80-90 percent made
before 1920 have disappeared forever. Sadly, our enthusiasm for watching
films has proved far greater than our commitment to preserving them.
And, ominously, more films are lost each year -- through the ravages of
nitrate deterioration, color-fading and the recently discovered 'vinegar
syndrome,' which threatens the acetate- based [safety] film stock on
which the vast majority of motion pictures, past and present, have
been reproduced."

For each title named to the Registry, the Library of Congress works
to ensure that the film is preserved for all time, either through the
Library's massive motion picture preservation program or through
collaborative ventures with other archives, motion picture studios,
and independent filmmakers. The Library of Congress contains the
largest collections of film and television in the world, from the
earliest surviving copyrighted motion picture to the latest feature
releases.For more information, consult the National Film
Preservation Board Web site.

PR 02-176
12/17/02
ISSN 0731-3527

									12/17/02		
		
Credits for Films Selected to 
the 2002 National Film Registry 
of the Library of Congress

[Note: Credits are provided for informational purposes only and in no way meant to be definitive or comprehensive] 

1)  Alien	(20th Century-Fox, 1979)		117 minutes, color

Producers: Gordon Carroll, David Giler and Walter Hill
Director: Ridley Scott
Screenplay: Dan O'Bannon, based on a story by O'Bannon and Ronald Shusett
Cinematographer: Derek Vanlint

Music: Jerry Goldsmith
Editor: Terry Rawlings
Production Design: Michael Seymour
Art Direction: Michael Seymour
Special Effects: Brian Johnson, Nick Allder

Cast: Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto.


2) All My Babies	(Georgia Department of Public Health, 1953)	55 minutes, b&w

Producer/Director/Writer: George C. Stoney
Cinematographer: Peaslee Bond
Music: Louis Appelbaum
Editor: Sylvia Cummins
Technical Supervisors: Marion Cadwallader and Hannah Mitchell


3)  The Bad and the Beautiful	(MGM, 1952)		118 minutes, b&w

Producer: John Houseman
Director: Vincente Minnelli
Screenplay: Charles Schnee, based on a story by George Bradshaw
Cinematographer: Robert Surtees, A.S.C.
Music: David Raksin
Editor: Conrad Nervig

Cast: Lana Turner, Kirk Douglas, Walter Pidgeon, Dick Powell, Barry Sullivan, Gloria Grahame, Gilbert Roland, Leo Carroll, Vanessa Brown, Paul Stewart, Sammy White, Elaine Stewart, Ivan Triesault.


4)  Beauty and the Beast	(Walt Disney Pictures, 1991)		85 minutes, color

Producer: Don Hahn
Directors: Gary Trousdale and Kirk Wise
Animation Screenplay: Linda Woolverton
Songs: Howard Ashman and Alan Menken
Score: Alan Menken
Editor: John Carnochan
Art Direction: Brian McEntee
Story Supervisor: Roger Allers
Layout Supervisor: Ed Ghertner
Background Supervisor: Lisa Keene
Cleanup Supervisor: Vera Lanpher
Visual Effects Supervisor: Randy Fullmer
Computer Graphic Images Supervisor: Jim Hillin
Supervising Animators: James Baxter, Glen Keane, Andreas Deja, Nik Ranieri, Will Finn, Dave Pruiksma, Ruben Aquino, Chris Wahl, Russ Edmonds.

Voices: Paige O'Hara, Robby Benson, Jerry Orbach, Angela Lansbury, Richard White, David Ogden Stiers, Jesse Corti, Rex Everhart, Jo Ann Worley, Hal Smith,  Bradley Michael Pierce.


5)  The Black Stallion	(United Artists, 1979)		118 minutes, color

Producers: Fred Roos and Tom Sternberg
Director: Carroll Ballard
Screenplay: Melissa Mathison, Jeanne Rosenberg, William Wittliff, based on the novel by Walter Farley
Cinematographer: Caleb Deschanel, A.S.C.
Editor: Robert Dalva
Music: Carmine Coppola
Art Direction: Aurelio Crugnola and Earl Preston

Cast: Kelly Reno, Mickey Rooney, Teri Garr, Clarence Muse, Hoyt Axton, Michael Higgins, Ed McNamara, Dogmi Larbi, John Burton, John Buchanan, Kristen Vigard, Fausto Tozzi, Cass-ole.



6)  Boyz N the Hood		(New Deal/Columbia, 1991)	107 minutes, color

Producer: Steve Nicolaides
Director/Writer: John Singleton
Cinematographer: Charles Mills
Editor: Bruce Cannon
Music: Stanley Clarke
Sound: Veda Campbell
Art Direction: Bruce Bellamy
Set Direction: Kathryn Peters

Cast: Laurence Fishburne, Ice Cube, Cuba Gooding Jr., Nia Long, Morris Chestnut, Tyra Ferrell, Angela Bassett, Meta King, Whitman Mayo, Desi Arnez Hines II, Baha Jackson, Donovan McCrary.


7) Theodore Case Sound Tests: Gus Visser and His Singing Duck   1925 
									ca. 5 minutes


8)   The Endless Summer	(Bruce Brown, 1966)		95 minutes, color

Producer/Director/Writer/Editor/Narrator: Bruce Brown
Cinematographers: Bruce Brown, R. Paul Allen, Bob Bagley and Paul Witzig
Musical Theme: The Sandals

Cast: Mike Hynson and Robert August


9)  From Here to Eternity	(Columbia, 1953)	118 minutes, b&w

Producer: Buddy Adler
Director: Fred Zinnemann
Screenplay: Daniel Taradash, from the novel by James Jones
Cinematographer: Burnett Guffey, A.S.C.
Editor: William A. Lyon
Music: George Duning
Art Direction: Cary Odell
Set Direction: Frank Tuttle

Cast: Burt Lancaster, Montgomery Clift, Deborah Kerr, Frank Sinatra, Donna Reed, Philip Ober, Ernest Borgnine.


10) From Stump to Ship	(Alfred Ames and Howard Kane, 1930)	30 minutes, sound, b&w


11)  Fuji	(Robert Breer, 1974)		8 minutes, color

Director/Cinematographer: Robert Breer


12)  In the Heat of the Night	(United Artists, 1967)		
							109 minutes, color

Producer: Walter Mirisch
Director: Norman Jewison
Screenplay: Stirling Silliphant, based on the novel by John Ball
Cinematographer: Haskell Wexler, A.S.C.
Editor: Hal Ashby
Music: Quincy Jones
Lyrics: Marilyn and Alan Bergman
Art Direction: Paul Groesse. 
Set Decoration: Robert Priestley

Cast: Sidney Poitier, Rod Steiger, Warren Oates, Lee Grant, James Patterson, Quentin Dean, Larry Gates, William Schallert, Beah Richards, Scott Wilson, Anthony James, Jack Teter, Matt Clark


13)  Lady Windermere's Fan	(Warner Bros, 1925) 		85 minutes, silent, b&w

Director: Ernst Lubitsch
Writer: Julien Josephson, based on the Oscar Wilde play
Cinematographer: Charles Van Enger, A.S.C.

Cast: Ronald Colman, Irene Rich, May McAvoy, Bert Lytell, Edward Martindel, Helen Dunbar, Carrie Daumery, Billie Bennett


14)  Melody Ranch	(Republic, 1940) 	84 minutes, b&w

Producer: Sol Siegel
Director: Joseph Santley
Screenplay: Jack Moffit, F. Hugh Herbert
Cinematographer: Joseph August, A.S.C.
Songs: Jule Styne and Eddie Cherkose
Editor: Lester Orlebock

Cast: Gene Autry, Jimmy Durante, Ann Miller, Barton McLane, Barbara Allen, George "Gabby" Hayes, Jerome Cowan, Mary Lee, Joseph Sawyer, Horace MacMahon, Clarence Wilson, and William Benedict.


15)  The Pearl	(Aguila Films Associados Mexico-Americanons/RKO)	
								77 minutes, b&w
Producer: Oscar Dancingers
Director: Emilio Fernandez
Writers: John Steinbeck, Emilio Fernandez and Jack Wagner, based on the story by Steinbeck
Cinematographer: Gabriel Figueroa
Music: Antonio Diaz Conde
Editor: Gloria Schoemann
Art Direction: Javier Torres Tarija

Cast: Pedro Armendariz, Maria Elena Marques, Fernando Wagner, Charles Rooner, Alfonso Bedoya, Juan Garcia, Enandine Diaz De Leon, Gilberto Gonzalez, Maria Cuadros


16)  Punch Drunks		(Columbia, 1934)	17 minutes, b&w

Director: Lou Breslow
Writer: Jack Cluett, based on a story by Larry Fine, Jerry (aka Curly) Howard and Moe Howard
Cinematographer: Henry Freulich, A.S.C.
Editor: Robert Carlisle

Cast: Moe Howard, Larry Fine, Curly Howard and Dorothy Granger


17) Sabrina		(Paramount, 1954)		113 minutes, b&w

Producer/Director: Billy Wilder
Writers: Wilder, Samuel Taylor and Ernest Lehman, based on the play "Sabrina Fair" by Taylor
Cinematographer: Charles Lang, Jr., A.S.C.
Music: Frederick Hollander
Editor: Arthur Schmidt
Art Direction: Hal Pereira and Walter Tyler
Set Design: Sam Comer and Ray Moyer
Music/Lyrics: Wilson Stone, Richard Rodgers, Lorenz Hart, Harold Lewis, and John Cope

Cast: Humphrey Bogart, Audrey Hepburn, William Holden, Walter Hampden, John Williams, Martha Hyer, John Vohs, Marcel Dalio, Marcel Hillaire, Nella Walker, Francis X. Bushman, Ellen Corby


18)  Star Theatre  	(American Mutoscope and Biograph Co., 1901)		
							Silent, b&W, 80 seconds

Director/Cinematographer: F.S. Armitage

	

19) Stranger Than Paradise	(Cinesthesia-Grokenberger Films/Goldwyn, 1984)
						90 minutes, b&w

Producer: Sara Driver
Director/Writer: Jim Jarmusch
Cinematographer: Tom DiCillo
Editors: Jarmusch and Melody London
Music: John Lurie

Cast: John Lurie, Ester Balint, Richard Edson, Cecilia Stark, Danny Rosen, Rammellzee


20)  This is Cinerama	(Cinerama Productions, 1952) 
						120 minutes, color, Cinerama
Director: Merian C. Cooper
Narrator: Lowell Thomas


21)  This is Spinal Tap	(Embassy, 1984)	82 minutes, color

Producer: Karen Murphy
Director: Rob Reiner
Screenplay/Music Lyrics: Christopher Guest, Michael McKean, Harry Shearer, Rob Reiner
Cinematographer: Peter  Smokler
Editors: Robert Leighton (supervising), Kent Beyda and Kim Secrist
Production Design: Dryan Jones

Cast: Rob Reiner, Michael McKean, Christopher Guest, Harry Shearer, R.J. Parnell, David Kaff, Tony Hendra, Bruno Kirby, June Chadwick, Fran Drescher, Joyce Hyser, Vicki Blue.  Guest appearances by Paul Benedict, Patrick Macnee, Billy Crystal, Fred Willard, Ed Begley, Jr., Zane Busby, Howard Hesseman, Paul Shaffer


22)   Through Navajo Eyes		(1966) Series of 7 films
Producers: Sol Worth and Jon Adair

1) Intrepid Shadows		18 minutes, b&w, silent
	Director: Al Clah
2) The Navajo Silversmith		27 minutes, b&w, silent
	Director: Johnny Nelson
3) A Navajo Weaver		22 minutes, b&w, silent
	Director: Susie Benally
4) Old Antelope Lake		11 minutes, b&w, silent
	Director: Mike Anderson
5) Second Weaver		9 minutes, b&w, silent
	Director: Susie Benally
6) The Shallow Well Project		14 minutes, b&w, silent
	Director: Johnny Nelson
7) The Spirit of the Navajos		21 minutes, b&w, silent
	Directors: Maxine and Mary J. Tsosie

  
23)  Why Man Creates	(Saul Bass and Associates, 1968)	25 minutes, color

Producer/Director: Saul Bass
Writers: Saul Bass and Mayo Simon


24)  Wild and Wooly	(Douglas Fairbanks Pictures/Artcraft Pictures, 1917)
						Silent, b&w, ca. 67 minutes

Director: John Emerson
Script: Anita Loos, based on a story by Horace B. Carpenter.
Cinematographer: Victor Fleming 
Editor: Billy Shay

Cast: Douglas Fairbanks, Eileen Percy, Walter Bytell, Joseph Singleton, Calvin Carter, Forest Seabury, J.W. Jones, Charles Stevens, Sam De Grasse, Tom Wilson, Ruth Allen, Ed Burns, James Wharton James.


25)  Wild River	(Twentieth Century Fox, 1960)	
					110 minutes, color	CinemaScope

Director: Elia Kazan
Screenplay: Paul Osborn, based on novels by William Bradford Huie and Borden Deal
Cinematographer: Ellsworth Fredericks, A.S.C.
Editor: William Reynolds
Art Directors: Lyle Wheeler and Herman Blumenthal
Music: Kenyon Hopkins

Cast: Montgomery Clift, Lee Remick, Jo Van Fleet, Albert Salmi, Jay Flippen, James Westerfield, Barbara Loden, Frank Overton, Malcolm Atterbury, Robert Earl Jones, Bruce Dern.