TY - BOOK ID - 11345597 TI - Lady in the dark : Iris Barry and the art of film PY - 2014 SN - 023153714X 0231165781 1322374252 9780231537148 9780231165785 PB - New York : Columbia University Press, DB - UniCat KW - Archivists KW - Film critics KW - Motion picture film KW - Motion picture film collections KW - Music, Dance, Drama & Film KW - Film KW - Preservation KW - History KW - Archival resources KW - Barry, Iris, KW - Museum of Modern Art (New York, N.Y.). KW - History. KW - Archival resources. KW - Film collections KW - Film libraries KW - Motion picture collections KW - Motion picture libraries KW - Moving-picture film collections KW - Cinematographic film KW - Film, Cinematographic KW - Film, Motion picture KW - Films, Cinematographic KW - Motion pictures KW - Moving-picture film KW - Motion picture critics KW - Moving-picture critics KW - Museum of Modern Art Film Library (New York, N.Y.) KW - Film Library of the Museum of Modern Art (New York, N.Y.) KW - Special libraries KW - Film archives KW - Cinematography KW - Photography KW - Critics KW - Equipment and supplies KW - Films KW - Preservation&delete& KW - E-books UR - https://www.unicat.be/uniCat?func=search&query=sysid:11345597 AB - Iris Barry (1895-1969) was a pivotal modern figure and one of the first intellectuals to treat film as an art form, appreciating its far-reaching, transformative power. Although she had the bearing of an aristocrat, she was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, Barry attracted the attention of Ezra Pound and joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats. She fell in love with Pound's eccentric fellow Vorticist, Wyndham Lewis, and had two children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator, assuring film's critical legitimacy. She convinced powerful Hollywood figures to submit their work for exhibition, creating a new respect for film and prompting the founding of the International Federation of Film Archives. Barry continued to augment MoMA's film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Huston, and Frank Capra. Yet despite her patriotic efforts, Barry's "foreignness" and association with such filmmakers as Luis Buñuel made her the target of an anticommunist witch hunt. She eventually left for France and died in obscurity. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's phenomenal life and work while recasting the political involvement of artistic institutions in the twentieth century. ER -