Paul Spehr (1931–2019) Mike Mashon (bio), Geo Willeman (bio), Arlene Balkansky (bio), Dan Streible (bio), and Mark Williams (bio) the Basic facts of Paul's career map the evolution of film archiving. He arrived at the Library of Congress in 1958 as the first employee hired as a full-time film preservationist and spent the next thirty-five years turning a barely organized collection into a division founded on archival principles—many of which Paul developed—and dedicated to the preservation of America's unmatched cinematic and televisual heritage. Paul was an indefatigable advocate for motion picture acquisition and preservation to a senior management that took some convincing; there's no question that the Library's moving image collections would be severely impoverished if not for his leadership. Paul had retired from the Library by the time I arrived as moving image curator in 1998, but he was still very much an active presence. He proved a wise and patient teacher, a seemingly bottomless source of information about W. K. L. Dickson and American Mutoscope and Biograph. But, more importantly, he knew so much about the nature of our holdings and how they evolved within the larger context of the Library as a national collection. His grasp of institutional history was invaluable, his generosity of spirit inspiring, and his legacy enduring. —Mike Mashon, Moving Image Section Head, Library of Congress ________ one of the things I remember best about Paul was that he treated us like colleagues, even when we were but lowly vault collection attendants at Wright–Patterson Air Force Base in Dayton, Ohio—in nitrate vaults that Paul helped identify and secure for the Library. Early on in my career, Paul asked me to accompany him on a trip to Toledo, Ohio, to inspect a collection of nitrate. Over the three-plus-hour drive, we had plenty of time to get to know each other, and that trip set our relationship for the next thirty years. Once he retired, I got to see and interact with Paul even more through emails and phone calls and in person at film festivals. At one of them, I mentioned a story I had heard about young employees literally hiding nitrate copyright prints at a time when the Library was replacing them with 16mm safety reductions. Afterward, Paul came up to me and told me he was the one who did it. That alone makes him a major archival hero in my mind. —Geo. Willeman, Nitrate Vault Manager, Library of Congress ________ i am one of many who would not have had a career in moving image archives without Paul. He generously met with me while I was still an undergraduate. His enthusiasm inspired me to get a graduate degree, and after joining the Library's Motion Picture Section in 1978, I was afforded multiple opportunities to expand my knowledge of film and television archives. Paul encouraged staff members at all levels to [End Page 301] Click for larger view View full resolution Figure 1. Paul Spehr illuminated, Orphans 2016, LOC Culpeper. Photograph courtesy of New York University Cinema Studies. attend the D.C. meetings of the Film Archives Advisory Committee and the Television Archives Advisory Committee (FAAC/TAAC), precursors to AMIA. I will always be grateful for his personal kindness and support. —Arlene Balkansky, former Moving Image Cataloger, Library of Congress ________ steeped in knowledge about film history, Paul was ever generous about sharing what he knew or where to look for answers. Whether at the many conferences and festivals he frequented or over social media, he would speak (always quietly and with modesty) about collections and films other experts had overlooked. When people inquired further, Paul would tell more and go so far as to share copies of primary sources he had been filing away for many years. His insights guided my research for three decades. When I visited the Library of Congress as a researcher in the early 1990s, he saw I was looking at a nineteenth-century illustration republished in a recent book. He introduced himself and offered historical context about the image that saved me from misunderstanding what I was studying. As the Orphan Film Symposium...
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