James Fenwick, Sheffield Hallam University
19 January 2021
This blog post is a reflection on the process of archival research I conducted for my book Stanley Kubrick Produces. Specifically, I want to focus on the idea of archival serendipity: how unexpected results and discoveries in the archive can reframe scholarly understanding of historical objects, figures, and events and even debunk prevailing myths. In the course of researching and writing Stanley Kubrick Produces, I wanted to uncover the truth behind a film that Stanley Kubrick was reputed to have been involved with in some capacity: World Assembly of Youth. But in tracking down archival evidence, I did not find what I was looking for, but instead came across an altogether different story. What I discovered was evidence of Kubrick’s own mythmaking and audio-visual material of a film that might have otherwise been forgotten.
What we thought we knew
I begin my story not in an archive, but at a conference. A room full of Kubrick experts, fans, and researchers. It is July 2019. I am part of an international workshop at the University of Leiden titled Life and Legacy, Studying the Films of Stanley Kubrick. Over fifty delegates from across the world are in attendance. And for five days, we debate, deconstruct, and overanalyse the films associated with Stanley Kubrick. It is an invigorating space, one in which we openly and freely debate the filmmaker’s career, wider production contexts, and of course the inevitable ‘meaning’ of the films. But one conversation stands out: on the third day we discuss ‘the unknown’ Kubrick. We deliberate over what we know, sketching it out on laptops, a blackboard, pieces of paper, anything we can find. Every nook and cranny of Kubrick’s life and career is raked over to find the holes in what we think we know.
The conversation turns to the 1950s and mention is made of a film, World Assembly of Youth. No one asks what the film is about. No one asks what Kubrick did on the film. It is taken as a given that he must have, in some way, been involved in the production of this film. No one has even seen the film. A throwaway remark is made about it being some kind of ‘CIA’ sponsored effort after a quick Google search. And then, after much scholarly digression, we move on, with no more made of the conversation.
Throughout the morning’s deliberations, I had largely remained silent. This briefest of mentions of World Assembly of Youth, what amounted to a few minutes at most, resonated for I was deeply involved in writing about the film and undertaking archival research at that point in time. I was in the middle of email discussions for material to be sent across to me that contained, I hoped, a copy of the film. It was in the process of being digitised. And I was excited because, on reflection, I realise that all of us deep down perhaps believed, even hoped, that World Assembly of Youth was some kind of ‘lost’ Kubrick film. It is why I remained silent. I was nervous at the prospect of what I might find in the coming days.
So just why was it that a room full of some of the world’s foremost Kubrick experts included World Assembly of Youth in discussions of Kubrick’s career? What made us so sure that the film was a Kubrick film? It goes back to a biography written by John Baxter in 1997, Stanley Kubrick: A Biography, in which it was claimed that Kubrick had been involved in the production of the film in 1952. Baxter describes the film as being, ‘an early attempt by the US State Department, which sponsored the film, to mobilise college-aged kids to carry out socially worthy projects, an initiative that was to have its pay-off in John Kennedy’s Peace Corps’.[i] Baxter’s discussion of the film is limited, with no reference of his source or of what Kubrick’s role was on the film.
Baxter’s claims seemed to be further substantiated, however, by contemporary reports in the press. A. H. Weiler published a column in the New York Times in June 1952 that summarised Kubrick’s filmmaking activities. I have highlighted in bold the relevant section concerning World Assembly of Youth:
PRODUCER: Proof that a producer-director need not be a man weighed down by years is here in the person of Stanley Kubrick, a New Yorker who is 23 and is currently negotiating for the release of “Shape of Fear,” his first feature and the fourth film he has turned out thus far. The picture, a study of four soldiers trapped behind enemy lines, developed from a story by Howard Sackler, a 22-year old friend of Kubrick’s, was made on location in California’s San Gabriel Mountains with Frank Silvera, Steve Coit, Ken Harp, Irwin Mazursky and Virginia Leith, professionals whose names obviously have not been in lights. The youthful producer-director, whose credits already include “The Day of the Fight” and “Flying Padre”, short subjects released by R.K.O., and a short on World Assembly of Youth, made for the State Department, has “a few stories he would like to film.” But his approach to the future seems to be both realistic and wise. “There’s no point in talking about my next picture,” he said, “until we see how ‘Shape of Fear’ does both critically and financially.”[ii]
Weiler’s column only mentions Kubrick’s work on World Assembly of Youth in passing. But importantly, the column seemed to validate what John Baxter had claimed. That Kubrick had worked on another short film, one that was not officially included in his filmography. What this limited evidence seemed to indicate was that there was another Kubrick film out there, somewhere, waiting to be found.
What we didn’t know
With Stanley Kubrick Produces, my aim was to situate Kubrick’s career within wider industrial and production contexts and to do so through archival research. This meant undertaking extensive research at archives around the world: the Stanley Kubrick Archive at the University of the Arts London, the Margaret Herrick Library in Los Angeles, the Wisconsin Center for Film and Theater Research in Madison, Wisconsin, the University of Liverpool, the British Library, the British Film Institute, Lambeth Palace Archives, The National Archives, and others besides. Yet, none of these archives contained any information whatsoever about World Assembly of Youth. The only evidence I could find was the fleeting mention by Baxter and a news report in the New York Times. My determination to uncover the secrets of World Assembly of Youth, perhaps to even find a copy of the film, looked to be hopeless.
That is until by sheer chance I noticed details of the film in an archival catalogue at the American Heritage Center (AHC), University of Wyoming. A brief aside to quickly tell you about this archive – after all, this is IAMHIST and archives are what we live for. The AHC is one of the largest non-government archives in the world, with over 90,000 cubic feet of archival material. If you want to find something about American history, chances are you will find something, however small, in the AHC. Its film and media archival collection is vast, with the AHC priding itself on being one of only a few institutions that took seriously the work of preserving the heritage and history of the film and media industries in the 1960s and 1970s.[iii]
I had been consulting the AHC because it houses the Richard De Rochemont papers. De Rochemont was an American film producer, most noted for his work on the March of Time newsreel series. He was also prominent in the early career of Kubrick; Kubrick had initially pitched his first short film, Day of the Fight (1951), for inclusion in De Rochemont’s March of Time series. De Rochemont rejected the film, but took a keen interest in Kubrick’s career, becoming something of a mentor and giving him opportunities to work on television series such as Mr. Lincoln (1952-53).
The Richard De Rochemont Papers are expansive, containing 216 boxes. As the archive catalogue states, the papers are made up of, ‘manuscripts and articles, scripts, research files, and other documents relating to projects produced by and associated with De Rochemont.’[iv] There is material in relation to March of Time and to De Rochemont’s production companies, such as Vavin. The papers also include a large amount of audio-visual material.
I had consulted the Richard De Rochemont papers early on in my research, but I was very specific, consulting personal papers and files relating to the project Mr. Lincoln. Then in spring 2019, I returned to the Richard De Rochemont papers archival catalogue to simply browse. Catalogue browsing is what I do at times, for no purpose other than to familiarise myself with a collection. It’s part of a wider process of archival serendipity that I now embed within my approach to archives generally. Rather than setting out with a hypothesis that I need to prove, I follow the archival evidence down unexpected paths and foreground its material realities: the absences, gaps, coincidences, and unexplained items. In perhaps one of the most poetic accounts of archival serendipity, historian Michael Hoeflich describes it as follows:
We [scholars] set out upon uncharted paths in libraries and archives, never really knowing what we will find. Scientists construct vast and complex experiments in the hopes of proving an hypothesis. But too many brilliant hunches have turned out to be nothing more than signposts on the road to dead ends. It is the lucky scholar or scientist who, setting out with a goal in mind for his or her research, achieves that goal quickly and directly. […] But serendipity and its relations do not come uninvited to the scholar’s table. Rather, serendipity visits those scholars and researchers who set out with open minds and the flexibility of plan that allows them both to recognize the fortuitous discovery and to pursue it to its logical end.[v]
Hoeflich insists upon the need for mental flexibility in the use of archives. By this, he means the need for archival researchers to prepare for unexpected paths that take them away from their planned research. It does not mean that the planned research must be given up, but it does mean being ready to take detailed notes of new findings and ideas that are of, ‘potential worth.’[vi] The process of ‘aimless’ catalogue browsing can aid in this endeavour. It certainly has done for me over the years. And it certainly did in the case of World Assembly of Youth.
As I browsed the catalogue of the Richard De Rochemont papers, scrolling through the hundreds of rows of metadata, I happened to notice the following entry buried within the series ‘Projects 1935-1982’:
World Assembly of Youth scripts, 1952 Box 163
I had not expected to see such an item in the catalogue. I was excited and, spurred on by this serendipitous encounter, I began to search more precisely. There was another entry, buried within ‘Sub-series 4: Information and Other, 1952-1972, undated’:
“World Assembly of Youth” (b&w), undated Box 9
And there was one final entry, with the series ‘Photographs, circa 1916-1969, undated’, aligned with material from the March of Time collection:
March of Time – World Assembly of Youth, Ithaca, New York, 1951 Box 200
After facing a virtual research dead end, I was suddenly confronted with three separate boxes of potential archival evidence. More than that, one of the items was possibly the World Assembly of Youth film itself. I immediately began the process of contacting archival staff to arrange for duplications of the material. I also requested further information about the archival film footage. After several weeks of emails, one of the archival staff had managed to locate the film and view it. He emailed me his findings:
I had a chance to go into the cold vault to examine the motion-picture film that you requested more information for. It is black and white. It does have a soundtrack (I don’t know if there is actual audio, but there is a track for audio.) It appears to be about 30 minutes in length. The film is titled World Assembly of Youth. The next screen is: A Report on the First Triennial General Assembly of WAY, Cornell University, Ithaca, NY. The third credit screen is: Filmed in Conjunction with Young Adult Council U.S. Assembly of World Assembly of Youth. The next screen is: Produced by News of the Day. Then the film starts. The first scene appears to be of an airport tower.[vii]
Perhaps not the most enthralling of descriptions, but still this email furthered my excitement. After further discussions, it was agreed that the film could be digitised and sent across to me. I received that file, along with digital duplications of the other archival material, as I was leaving the University of Leiden Kubrick conference in summer 2019.
The material I received consisted of fifty-three black and white production photographs, a fifty-three-page script, a thirteen-page spot sheet document, and a digitised copy of the film. I have embedded the latter into this blog post for anyone that is curious to watch it.
Now, I will be honest, I genuinely thought in the days leading up to receiving these documents that I had located a ‘lost’ Kubrick film. As such, the first thing I did upon receiving the documents was to watch the film. And as I watched the film, I became increasingly bored, baffled, and disappointed: what on earth was this film, I thought to myself. Obviously, it was a thirty-three-minute-long informational documentary about the first international meeting of the organisation the World Assembly of Youth at Cornell University in 1951. But a lost Kubrick film? As the film came to an end, I gradually started to suspect that everything I thought I knew about the film was in fact wrong. Kubrick’s name was absent from the credits. If he had been involved in the production, surely his name would have been included?
I hoped the surrounding archival documentation would provide a clue as to Kubrick’s involvement in the production. The script contained several pages of credits, but once again Kubrick’s name was absent. He had not produced the film. He had not directed it. He had not operated the camera. Nor the sound. Nor was he present in any of the production stills, some of which were images of the crew.
My disappointment turned to deflation as it dawned on me: World Assembly of Youth was not a ‘lost’ Kubrick film after all.
What we now know and what it tells us
In the days after first viewing World Assembly of Youth, I slowly came to the realisation that my serendipitous encounter had revealed an altogether different history to the one I had expected, and in fact arguably told me much, much more than I had intended to find out.
The fact that Kubrick was not involved in the production in any obvious way did not mean it did not reveal something about the history of Stanley Kubrick. It may well be that Kubrick was involved in the production, say as a stills photographer: the name of the photographer is not detailed in the available archival evidence and we can therefore speculate that it is Kubrick taking the pictures. He was, after all, a photographer by-trade up to 1950, working for Look magazine. Of course, it might also have been someone else that had taken the photographs.
Could Kubrick have been involved in an alternative, as of yet undiscovered production about the World Assembly of Youth? What I have not discussed in this blog post is the history of the organisation, of its connections to the U.S. State Department, or the fact that there were other productions, including radio productions, produced during this time period. Was Kubrick involved in those? I suspect it is highly unlikely. This film is located in the Richard De Rochemont papers with dates that correspond to a period in which Kubrick was closely affiliated to De Rochemont. If Kubrick was involved in any film about the World Assembly of Youth, the chances are that it was this one.
Perhaps more interesting is the way Kubrick clearly used the film, whatever his tangential connection, as a means of self-promotion. If we return to the column in the New York Times quoted above, the likelihood is that Kubrick had supplied the journalist, A. H. Weiler, with written copy. This is something he had done before when promoting Day of the Fight and his planned production of Fear and Desire. Kubrick also talked up his role in the production of Mr. Lincoln to the press. He was not averse to self-promotion or brand management, but made it a central tenet of his producing personality from the very beginning of his career.
Kubrick was building a myth about his prowess and abilities in order to advance his career at a time when he still had little prospects of making it in the film industry. There was no reason for A. H. Weiler to report on Kubrick’s activities other than if Kubrick had supplied the journalist with the story in the first place. As such, the sources that have been used to associate the World Assembly of Youth with Kubrick are unreliable.
The Kubrick myth, however, one propagated by Kubrick himself, still dominates. Yet, by conducting detailed, empirical research, it is possible to begin deconstructing this myth to get at wider truths of who Kubrick was and how his career developed. Of course, sometimes fortuity in the archives is what is needed to be able to break down some of these myths.
There is one final point I want to make about this serendipitous archival encounter. My attempts to discover a ‘lost’ Kubrick film failed, but in the process I succeeded in finding out something else: a forgotten history, if you will, of a film that might have otherwise remained sealed in the AHC Cold Storage. There is a much more detailed story to tell about World Assembly of Youth, particularly its connections with the CIA: that is for another blog post.
There is perhaps also a wider issue here of the failed, or ‘bad’ film histories, that prevail within our profession. By this I mean that archives are filled with such overlooked and forgotten artefacts like World Assembly of Youth, a whole hidden history of films that are not digitised and not accessible to film historians. One of the reasons this is the case is because of the way in which cultural value is ascribed to archives and archival objects. Typically, it is those films and filmmakers that are ‘established’ and the most popular that receive overinvested scholarly investigation. The result of this, however, is the neglect of other histories.
I for one was too focused on Stanley Kubrick and on the film canon, in the process overlooking and even overshadowing forgotten or banal archival objects if they did not serve the wider history of Kubrick’s career. What archival serendipity led to, however, was a realisation that the archive can deconstruct Kubrick and bring to light other histories of film and media that are just as important, even when it is a film as seemingly banal as World Assembly of Youth. And that has been for me the key lesson I have learned in archival research over the past two to three years: that as an archival researcher you have to be prepared to focus on the material realities of the archive, not on the archive as a means of reinforcing existing myths. It is a point more eloquently put by Nancy Lusignan Schultz:
Serendipity, however, requires that the mind be prepared in two special ways: with the flexibility to set aside the object of a quest, and with the wisdom to recognize that a collateral discovery may be equally important.[viii]
So, that is my story, how I failed to discover a lost Stanley Kubrick film, but instead found something altogether unexpected but just as important. And now that I have talked about this film for several thousand words, you might just find yourself wanting to watch World Assembly of Youth or even to read more about. The film is embedded as a YouTube video below, uploaded with the permission of the American Heritage Center. You can read more about the history of the film in Stanley Kubrick Produces, while David Maunders provides a comprehensive of the World Assembly of Youth organisation in his article, ‘Controlling Youth for Democracy: The United States Youth Council and the World Assembly of Youth’ (2003).[ix]
World Assembly of Youth, Richard de Rochemont Papers, American Heritage Center, University of Wyoming.
Produced by News of the Day for World Assembly of Youth, Richard De Rochemont.
Directors: D. Corbit Curtis and Richard Millett
Producer: Richard De Rochemont
Camera: George Stoetzel and George Hinners, with Rody Green, Leo Rossi, and T. Rickman
Sound: Anthony Girolami, with Fred Fenton and Abe Landau
Chief Electrician: Alfred Shaw Editors: Lawrence Sherman, Gene Milford, and Robert Collison
Assistant Directors: H. O. Keith Ayling, Robert Daly, Sam Locke
The film received the approval of the Department of State on February 15, 1952.
Link to World Assembly of Youth https://youtu.be/PWaMXsak0tk
[i] John Baxter, Stanley Kubrick Produces (London: Harper Collins, 1997), 51.
[ii] A.H. Weiler, ‘By Way of Report: Of Disney’s Dog Cartoon Feature – Other Items.’ New York Times, June 29 (1952), X3.
[iii] ‘Guide to Entertainment Industry Resources.’ American Heritage Center. https://www.uwyo.edu/ahc/_files/collection_guides/ent-ind-guide-2009-ed_jan_2017.pdf
[iv] ‘Inventory of the Richard De Rochemont Papers.’ American Heritage Center. https://rmoa.unm.edu/docviewer.php?docId=wyu-ah05940.xml#idm45852611782320
[v] Michael Harlan Hoeflich, ‘Serendipity in the Stacks, Fortuity in the Archives.’ Law Library Journal, vol. 99, no. 4 (2007), 813.
[vi] Ibid., 826.
[vii] Correspondence with the author, July 2019.
[viii] Nancy Lusignan Schultz, ‘Serendipity in the Archive.’ The Chronicle Review (2011): https://www.chronicle.com/article/serendipity-in-the-archive/
[ix] David Maunders, ‘Controlling Youth for Democracy: The United States Youth Council and the World Assembly of Youth.’ Commonwealth Youth and Development, vol. 1, no. 2 (2003), 22-51.
James Fenwick is a senior lecturer in media and communications at Sheffield Hallam University. He is the author of Stanley Kubrick Produces (2020), editor of Understanding Kubrick’s 2001: A Space Odyssey (2018), and co-editor of Shadow Cinema: The Historical and Production Contexts of Unmade Films (2020). He has written numerous journal articles and book chapters about the life and work of Stanley Kubrick that aim to deconstruct the auteur myth that surrounds him by focusing on the material, social and cultural conditions of production of those films with which he is associated. This includes the forthcoming article, ‘Problems with Kubrick: Reframing Stanley Kubrick Through Archival Research’ (2021) for the New Review of Film and Television Studies.
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