3. Images and Documents

We encourage the inclusion of iconographic and documentary materials such as  portrait, publicity still, frame enlargement, and reproductions of texts such as fan magazine articles, short [auto]biography, screenwriting manual, correspondence, studio payroll, contract, death certificate, and scenario.

Format: Please submit as high resolution jpgs (300 dpi).

Captions

Captions must be short, film titles in italics with date as below, identify pioneer by primary occupation: a, w, d, p, e and o: a= actress, w= writer, d= director, p= producer, and e= editor, o= other (anything else). Provide source for image in caption (abbreviated). PC = private/personal collection. 

[Fig. 6.  One-sheet for The Little American (1917). AMPAS]             

[Fig. 9. Jeanie Macpherson (w/d/a) with Cecil B. DeMille. PC]            

[Doc 2.  Jeanie Macpherson (w/d/a) Death Certificate. PC]    

Permissions

Whether from your own private collection or from commercial source, we need a statement on letterhead from each source referring to all images or documents. It should state: “The Center for Digital Research and Scholarship, Columbia University Libraries  has the permission of ________to use images of ___________in the Women Film Pioneers Project  online resource.”  Source of each image or document is identified in caption. Example: AMPAS= Academy of Motion Picture Arts & Sciences or PC = Personal Collection. See Image Attribution Key for a full list of abbreviations.

The publisher, Center for Digital Research and Scholarship, Columbia University Libraries, uses images and documents submitted by contributors as a non-profit educational tool to illustrate written text designed for global, perpetual online display.

Figure & Document Source Attribution

Whether images and documents are from your own private collection, a nonprofit archive, a family member, or a commercial source, we need as much information as possible as in examples below. The editors will contact you if we need further paperwork. At the very end of the Profile and Essay, list images with as much descriptive information as possible, as in the Jeanie Macpherson Submission_Model.

Examples:

  • Document scan/public print material archive: Doc 1. pdf file scan of letter from Maibelle Heikes Justice to William Selig, 12/22/15. Source: purchased by Women Film Pioneers Project. Paperwork agreement regarding digital use dated 12/4/09 on file from William Selig Papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA, USA
  • Photo, 8 x 10 glossy/contributor private collection: Fig 1. 8 x 10 glossy photo – Cleo Madison on porch. Source: purchased by contributor from Larry Edmunds Bookstore, Hollywood, CA, USA. 5/10/1995
  • Electronic image scan/purchased from collection: Fig. 2. image scan, one-sheet for The Little American (Famous Players-Lasky, 1917). Source: purchased by Women Film Pioneers Project. Paperwork on file from Randy Bryan Bingham Collection
  • Photo scan/contributed by family member: Fig. 3. photo scan, Julia Crawford Ivers shooting in Hawaii (The White Flower, 1923) 9/18/08 email paperwork from niece on file.
  • Postcard/purchased from collection: Fig 4. Salomy Jane (1916) post card purchased for $7.50 by a contributor from online distributor.
  • Website download electronic image/FIAF archive: Fig 5. download, Carmen Santos, frame enlargement from Sangue mineiro (1929). Source: http://www.cinemateca.com.br Cinemateca Brasileira (Sâo Paulo) BRS
  • Set of image scans/FIAF archive: Fig. 6. photo scan, Thea Červenková publicity stills, portrait, frame enlargements; 9/9/09, paperwork on file from Yuri Zaorálek, Kurátor, Česky Filomový Archiv, Praha 3, the Czech Republic.
  • Motion Picture frame enlargement/FIAF archive: Fig. 7. photographic frame enlargement from 35mm film fragment, Bread (Universal, 1916). Source: positive 5 x 7 photo from negative, frame enlargement photographed by Library of Congress Duplication Services, material held by Library of Congress, Division of Motion Pictures, Broadcast and Sound Recording, Washington, D.C., USA.

Note: The Women Film Pioneers Project is not an image clearinghouse. Users may contact archive or commercial source credited on each image. The source credit PC (contributor or family member) indicates private holding, designed to discourage inquiries. The Project does not respond to inquiries about sources.