Download Over 22,000 Golden & Silver Age Comic Books from the Comic Book Plus Archive

HORIZONTALBESTCOMICS

The decade begin­ning with the late 1930s is known as the Gold­en Age of com­ic books. Many of the super­heroes from today’s block­buster fran­chis­es, includ­ing Bat­man, Super­man, and Cap­tain Amer­i­ca, emerged dur­ing this peri­od, and the indus­try grew into a com­mer­cial pow­er­house. Fol­low­ing a sales dip dur­ing the ear­ly 1950s that marked the end of the Gold­en Age, the Sil­ver Age began (cir­ca 1956) and last­ed for some fif­teen years.

Dur­ing this era, super­hero com­ic books ini­tial­ly lost steam — let­ting sto­ries of hor­ror, romance, and crime grow in pop­u­lar­i­ty — before emerg­ing tri­umphant­ly once more with char­ac­ters like Spi­der-Man and The Flash. While copy­right remains very much in effect for such titles, a slew of com­ic books from the same peri­od, many of which have nar­row­ly missed attain­ing such icon­ic sta­tus, are avail­able online at Com­ic Book Plus.

DAREDEVIL

Sim­i­lar to the Dig­i­tal Com­ic Muse­um, which we wrote about last week, Com­ic Book Plus con­tains a near inex­haustible quan­ti­ty of Gold­en and Sil­ver Age com­ic books. The collection’s times­pan ranges from the late 1930s through to the ear­ly 1960s, and includes many thou­sands of com­ic books in the Super­heroSci-Fi, and Hor­ror gen­res.

LINDALARK

Those han­ker­ing for some­thing a lit­tle more unusu­al will also be in luck. Des­per­ate to read about a hos­pi­tal romance? Why not give Lin­da Lark Stu­dent Nurse a read in the Med­ical Love cat­e­go­ry? Sick of land­lub­bers hog­ging all the atten­tion in com­ic books? Head to the Water/Boats sec­tion, where you can read all about Davy Jones, the navy lieu­tenant who lives in Atlantis and does bat­tle with the evil Dr. Fang, in Under­sea Agent.

UNDERSEAAGENT

Com­ic Book Plus also has a ter­rif­ic selec­tion of for­eign com­ic books, includ­ing impres­sive col­lec­tions in Ger­man, Hin­di, Ital­ian, Por­tuguese, and Span­ish. You can see Super Hombre here.

SUPERHOMBRE

Final­ly, the site con­tains a num­ber of U.S. gov­ern­ment edu­ca­tion­al pam­phlets, includ­ing Bert The Tur­tle Says Duck And Cov­er, a guide to sur­viv­ing atom­ic bomb blasts.

BERTTHETURTLE

For fur­ther read­ing, head on over to Com­ic Book Plus. You can pre­view all mate­ri­als with­out reg­is­tra­tion. But you will need to reg­is­ter (for free) if you want to down­load the var­i­ous com­ic books.

H/T to Yoc­itrus for mak­ing us aware of this archive.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman, or read more of his writ­ing at the Huff­in­g­ton Post.

Relat­ed Con­tent:

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

Free Com­ic Books Turn Kids Onto Physics: Start with the Adven­tures of Niko­la Tes­la

Read Mar­tin Luther King and The Mont­gomery Sto­ry: The Influ­en­tial 1957 Civ­il Rights Com­ic Book

The Pulp Fic­tion Archive: The Cheap, Thrilling Sto­ries That Enter­tained a Gen­er­a­tion of Read­ers (1896–1946) 

Enter the Hannah Arendt Archives & Discover Rare Audio Lectures, Manuscripts, Marginalia, Letters, Postcards & More

EichmanJerusalem

The work of Han­nah Arendt has been in the press recent­ly for two rea­sons in par­tic­u­lar: first, the 50th anniver­sary of her book Eich­mann in Jerusalem, pub­lished in 1963 from reports she filed for The New York­er on the 1961 tri­al of the arche­typ­al Nazi bureau­crat. Then there is Mar­garethe von Trotta’s 2012 biopic Han­nah Arendt, star­ring Ger­man actress Bar­bara Sukowa as the Ger­man Jew­ish philoso­pher. Recent cov­er­age of the book and the film have focused on Arendt’s rep­u­ta­tion as a philo­soph­i­cal jour­nal­ist most close­ly iden­ti­fied with the famous descrip­tive phrase “the banal­i­ty of evil,” a com­ment on Adolf Eich­mann as an exem­plar of geno­ci­dal mur­der­ers who, as the well-worn defense goes, were “just fol­low­ing orders.”

Arendt schol­ar Roger Berkowitz argues that this read­ing of Arendt’s book is a pro­found mis­read­ing. Eich­mann in Jerusalem was divi­sive, set­ting crit­ics against each oth­er in efforts to vin­di­cate or cas­ti­gate its author. The con­tro­ver­sy, how­ev­er, at the time of pub­li­ca­tion and again in the recent re-eval­u­a­tion, has the unfor­tu­nate effect of obscur­ing the breadth of Arendt’s philo­soph­i­cal think­ing apart from Eich­mann and Nazism. Those inter­est­ed in con­nect­ing with Arendt’s life, schol­ar­ship, and philo­soph­i­cal insight can find a wealth of archival mate­ri­als online from the col­lec­tions of Bard Col­lege and the Library of Con­gress. Today, we high­light sev­er­al items in those col­lec­tions that may be of inter­est, includ­ing the Library of Congress’s scanned copy of the final type­script of Eich­mann in Jerusalem.

Part 1:
Part 2 (Q&A):

First, direct­ly above, hear Arendt’s speech “Pow­er & Vio­lence.” The lec­ture re-iter­ates ideas Arendt expressed more ful­ly in a lengthy 1969 essay pub­lished by the New York Review of Books as “Reflec­tions on Vio­lence” and as a book titled On Vio­lence. In the lec­ture and the essay, Arendt ref­er­ences the work of thinkers like Friedrich Engels and, espe­cial­ly, Frantz Fanon in a crit­i­cal dis­cus­sion of the roles racism and ide­ol­o­gy play in state vio­lence.

That same year Arendt deliv­ered a series of lec­tures for a Spring semes­ter course at The New School for Social Research called “Phi­los­o­phy and Pol­i­tics: What is Polit­i­cal Phi­los­o­phy.” This fas­ci­nat­ing inves­ti­ga­tion grap­ples not only with polit­i­cal phi­los­o­phy, but phi­los­o­phy in gen­er­al as a mean­ing­ful activ­i­ty. You can view the full type­scripts of her course lec­tures here.

The Library of Con­gress has also dig­i­tized much of Arendt’s cor­re­spon­dence and uploaded images of her let­ters, includ­ing some to and from such well-known fig­ures as W.H. Auden, Lionel Trilling, and Alfred Kazin (most of Arendt’s let­ters are only avail­able for view­ing onsite at the Library of Con­gress, The New School Uni­ver­si­ty, or the Uni­ver­si­ty of Old­en­burg).

Bard College’s Han­nah Arendt Col­lec­tion show­cas­es many of Arendt’s per­son­al books. We can see dig­i­tized images of her copies of—among many others—Aristotle, Immanuel Kant, Leo Strauss, her friend poet Robert Low­ell, Carl Schmitt, and, of course, her one­time men­tor and lover, Mar­tin Hei­deg­ger. Each of the uploads shows the pages in which Arendt under­lined or marked key pas­sages and left mar­gin­al notes.

Benjamin-Arendt

In addi­tion to the “Arendt Mar­gin­a­lia” sec­tion, Bard hosts a gallery that includes “inscribed books, jour­nals & man­u­scripts,” “art­work & pho­tographs,” and “post­cards and oth­er cor­re­spon­dence” (such as the above post­card from Wal­ter Ben­jamin, addressed to “Han­nah Stern,” her mar­ried name at the time).

Last­ly, for an excel­lent overview of Arendt’s life and work that puts all of the above mate­ri­als in con­text, see the Library of Congress’s “Bio­graph­i­cal Note” and be sure to read “Three Essays: The Role of Expe­ri­ence in Han­nah Arendt’s Polit­i­cal Thought” by Jerome Kohn, direc­tor of the New School’s Han­nah Arendt Cen­ter. As many know, Arendt, and many oth­er Ger­man Jew­ish intel­lec­tu­als who fled the Nazis, found a home at New York’s New School for Social Research (now New School Uni­ver­si­ty). And we have the New School (and an Andrew W. Mel­lon Foun­da­tion grant) to thank for the Library of Congress’s vast, dig­i­tized col­lec­tion of Arendt’s papers, which pre­serves her lega­cy for gen­er­a­tions to come.

Relat­ed Con­tent:

Han­nah Arendt Dis­cuss­es Phi­los­o­phy, Pol­i­tics & Eich­mann in Rare 1964 TV Inter­view

Han­nah Arendt’s Orig­i­nal Arti­cles on “the Banal­i­ty of Evil” in the New York­er Archive

The Tri­al of Adolf Eich­mann at 50

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

New Carl Sagan Archive Features His Digitized Home Movies, Student Journalism, Draft of His Pale Blue Dot & More

Sev­er­al days ago, we brought you a rare Carl Sagan sketch, where the young sci­en­tist depict­ed an imag­ined his­to­ry of inter­stel­lar space flight. In that post, we made brief men­tion of the Seth Mac­Far­lane Col­lec­tion of the Carl Sagan and Ann Druyan Archive, which mer­its to be high­light­ed in its own right: its arrival means that the Inter­net now has access to a vast repos­i­to­ry of the emi­nent sci­ence educator’s orig­i­nal papers and per­son­al arti­facts.

His­to­ri­ans, biog­ra­phers, and die-hard Sagan devo­tees will inevitably want to vis­it the Library of Con­gress in per­son to view the full archive, which con­tains over 1700 box­es of mate­r­i­al. The lay read­er curi­ous about Sagan’s life, how­ev­er, won’t need to make the trek to the U.S. cap­i­tal to sam­ple the archive’s con­tents. That’s because the Library of Con­gress has uploaded a por­tion of the col­lec­tion online, includ­ing sundry fas­ci­nat­ing bio­graph­i­cal pieces. Above, you can view a dig­i­tized set of the Sagan fam­i­ly’s silent home movies, where young Carl shows off his boy­hood box­ing prowess, rides horse­back, and plays piano (pre­cious­ly, we pre­sume).

It was dur­ing high school that Sagan began to fill out intel­lec­tu­al­ly. His senior year­book is tes­ti­mo­ny to both his inter­est in sci­ence and the human­i­ties: not only was Sagan pres­i­dent of both the sci­ence and chem­istry clubs, he also led the French club, served as an edi­tor on his school’s news­pa­per, debat­ed, took part in the­atre pro­duc­tions, and was a mem­ber of the pho­tog­ra­phy club.

sagan archive

Indeed, Sagan dis­played his uncan­ny abil­i­ty to merge sci­ence with the human­i­ties in Wawawhack, his high school news­pa­per, writ­ing a piece enti­tled “Space, Time, and The Poet.” He begins by say­ing, “it is an exhil­a­rat­ing expe­ri­ence to read poet­ry and observe its cor­re­la­tion with mod­ern sci­ence. Pro­found sci­en­tif­ic thought is hard­ly a rar­i­ty among the poets.” Through­out the piece, Sagan goes on to draw from vers­es by Alfred Lord Ten­nyson, T. S. Eliot, John Mil­ton, and Robert Frost.

Mix­ing sci­ence and lit­er­a­ture would remain one of Sagan’s spe­cial­ties, and would even­tu­al­ly lead to his writ­ing The Pale Blue Dot: A Vision of Human Future In Space (1994). The book dis­cuss­es humankind’s place in the uni­verse, past, present, and future, and a PDF ver­sion of the anno­tat­ed sec­ond draft, pic­tured below, is avail­able in the archive.

sagan archive 3

For more of the dig­i­tized col­lec­tion, vis­it Seth Mac­Far­lane Col­lec­tion of the Carl Sagan and Ann Druyan Archive.

via Boing Boing

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Relat­ed Con­tent:

Carl Sagan’s Under­grad Read­ing List: 40 Essen­tial Texts for a Well-Round­ed Thinker

Free Mini Course: Carl Sagan Presents Six Lec­tures on Earth, Mars & Our Solar Sys­tem … For Kids (1977)

Carl Sagan, Stephen Hawk­ing & Arthur C. Clarke Dis­cuss God, the Uni­verse, and Every­thing Else

On Christmas, Browse A Historical Archive of More Than 50,000 Toys

paratroops in action

The Strong Nation­al Muse­um of Play, locat­ed in Rochester, NY, is a fun children’s muse­um. But the insti­tu­tion also has seri­ous research archives, stuffed with toys, games, and records of the toy indus­try. Its online col­lec­tions, which cur­rent­ly boast 55,068 objects, take a hol­i­day brows­er on a trip into a fig­u­ra­tive grandma’s attic, chock-full of the play­things peo­ple loved in the nine­teenth and twen­ti­eth cen­turies.

The online archives are divid­ed into four cat­e­gories: “Toys”, “Dolls”, “Games”, and “More.” Each of these four sec­tions is fur­ther sub­di­vid­ed into top­i­cal­ly-spe­cif­ic groups, cho­sen by the archivists.

The collection’s strength is also its weak­ness: there are so many toys that it can be easy to get over­whelmed. The sub­ject divi­sions are help­ful here. As some­body with an inter­est in gen­der and child­hood, I found myself fas­ci­nat­ed by the house­keep­ing toys—kids used to use ovens that were heat­ed with real coals!—and that was an easy way to nar­row down my browse.  Sub­ject group­ings for toy sol­diers, celebri­ty dolls, and board games also piqued my inter­est.

It’s fun to look around for toys from your own child­hood (I found a few), but if you’re inter­est­ed in his­to­ry, you might find the echoes of his­tor­i­cal events to be even more intrigu­ing. Late-nine­teenth-cen­tu­ry kids played with a paper doll inspired by the cir­cus celebri­ty Tom Thumb; chil­dren of the 1930s had licensed dolls of the media-sen­sa­tion Dionne Quin­tu­plets; a play­set from 1940 fea­tured grim, suit­ed-up “Para­troops in Action.”

Mou­s­ing over the thumb­nails will allow you to see the item’s name. If you see a blue “Learn More” tag, be sure to click through; that means that the item’s image will be accom­pa­nied by an inter­pre­tive his­tor­i­cal note writ­ten by the Strong’s archivists. These vary in length, and con­tain intrigu­ing tid­bits. Did you know, for exam­ple, that Hol­ly Hob­bie was a real per­son: the artist Hol­ly Ulinkas Hob­bie? Or that the famous artist Charles Dana Gib­son had a now-for­got­ten fol­low­er, Nell Brink­ley, who illus­trat­ed the flap­per era?

Rebec­ca Onion is a writer and aca­d­e­m­ic liv­ing in Philadel­phia. She runs Slate.com’s his­to­ry blog, The Vault. Fol­low her on Twit­ter: @rebeccaonion

Great New Archive Lets You Hear the Sounds of New York City During the Roaring 20s

NewYorkNoiseComplaints

The French refer to the decade between 1920 and 1929 as les Années folles, “the crazy years,” which is apt when you con­sid­er how the French mid­dle and upper class­es gen­er­al­ly loos­ened their brassieres and defined mod­ern bohemia, à la Coco Chanel.

But the Amer­i­can moniker — the Roar­ing 20s — fits too. Near­ly every­thing about that decade roared: cars, jazz, man­u­fac­tur­ing, con­struc­tion.

Din, in fact, came to define the age, par­tic­u­lar­ly in big cities and espe­cial­ly in New York. An unnamed Japan­ese vis­i­tor was quot­ed upon his vis­it to that city in 1920: “My first impres­sion of New York was its noise. When I know what they mean, I will under­stand civ­i­liza­tion.”

A Prince­ton his­to­ry pro­fes­sor took that chal­lenge at face val­ue, while cap­tur­ing a broad­er indus­tri­al era. The Roar­ing Twen­ties is an audio (and to some extent video) archive of what New York City sound­ed like from 1900 to 1933. Pro­fes­sor Emi­ly Thomp­son and design­er Scott Mahoy have cre­at­ed a love­ly site that’s fun to explore. The archive includes a beau­ti­ful 1933 map of New York City loaded with links to noise com­plaints (screen­shot at top), com­plete with doc­u­men­ta­tion. New York had long been a place where peo­ple from all over the world lived on top of one anoth­er, but noise lev­els were shifting—getting loud­er and more var­ied, that is—and the city was inun­dat­ed with com­plaints about fer­ry whis­tles, radio shops, street traf­fic, the clat­ter of restau­rant dish­wash­ing, and all man­ner of con­struc­tion.

CityNoiseSourcesShot

Sen­si­tiv­i­ty to the city’s vol­ume was high. The city’s Noise Abate­ment Com­mis­sion mea­sured the “deaf­en­ing effect” of sound in Times Square. The women’s cafe­te­ria in the New York Life Insur­ance build­ing was designed with state-of-the-art acoustics to keep the noise of the city out and the sound of office work­ers in.

Cort­landt Street in low­er Man­hat­tan was lined with radio shops, each broad­cast­ing dif­fer­ent music. Don’t miss that video, which you’ll find by scan­ning the Space tab map.

You can also move through time on the site, lis­ten­ing to the city’s cacoph­o­ny from the ear­ly 1900s up to the 1930s, or browse a menu of noise sources from home sounds to the noise of the har­bors and rivers. Again, you can vis­it the The Roar­ing Twen­ties site here.

via i09

Relat­ed Con­tent:

Alan Lomax’s Music Archive Hous­es Over 17,400 Folk Record­ings From 1946 to the 1990s

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

The Chal­lenge of Archiv­ing Sound + Vision in the 21st Cen­tu­ry

Kate Rix writes about edu­ca­tion and dig­i­tal media. Fol­low her on Twit­ter.

The Pulp Fiction Archive: The Cheap, Thrilling Stories That Entertained a Generation of Readers (1896–1946)

Phantm_d

For the first half of the twen­ti­eth cen­tu­ry, pulp mag­a­zines were a quin­tes­sen­tial form of Amer­i­can enter­tain­ment. Print­ed on cheap, wood pulp paper, the “pulps” (as opposed to the “glossies” or “slicks,” such as The New York­er) had names like The Black Mask and Amaz­ing Sto­ries, and promised read­ers sup­pos­ed­ly true accounts of adven­ture, exploita­tion, hero­ism, and inge­nu­ity. Such out­lets offered a steady stream of work for sta­bles of fic­tion writ­ers, with con­tent rang­ing from short sto­ries about intre­pid explor­ers sav­ing damsels from Nazis/Communists (depend­ing on the pre­cise time of pub­li­ca­tion) to nov­el-length man vs. beast accounts of courage and cun­ning. This, inci­den­tal­ly, gave birth to the term “pulp fic­tion,” pop­u­lar­ized in the 1990s by Quentin Tarantino’s epony­mous film.

In the 1950s, the pulps went into a steep decline. In addi­tion to tele­vi­sion, paper­back nov­els, and com­ic books, the pulps were over­tak­en by the more explic­it, and even low­er brow men’s adven­ture mag­a­zines (read­ers of Tru­man Capote’s In Cold Blood may remem­ber Per­ry Smith, the socio­path­ic mis­fit who mur­dered the Clut­ter fam­i­ly, being an enthu­si­as­tic read­er of these ear­ly lads’ mags). Thanks to The Pulp Mag­a­zines Project, how­ev­er, many of the most famous pub­li­ca­tions remain acces­si­ble today through a well-designed online inter­face. Hun­dreds of issues have been archived in the data­base that spans from 1896 through to 1946. It includes large mag­a­zines, such as The Argosy and Adven­ture, and small­er, more spe­cial­ized fare, such as Air Won­der Sto­ries and Bas­ket­ball Sto­ries. Although good writ­ing occa­sion­al­ly made its way into the pulps, don’t expect these mag­a­zines to mir­ror the lit­er­ary depth of seri­al­ized pub­li­ca­tions of the 19th cen­tu­ry; rather, the archive pro­vides a ter­rif­i­cal­ly enter­tain­ing look at the pop­u­lar read­ing of ear­ly 20th cen­tu­ry Amer­i­ca.

To browse the com­plete data­base, head over to The Pulp Mag­a­zines Project.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Quentin Taran­ti­no Gives Sneak Peek of Pulp Fic­tion to Jon Stew­art (1994)

Isaac Asi­mov Recalls the Gold­en Age of Sci­ence Fic­tion (1937–1950)

Did Shake­speare Write Pulp Fic­tion? (No, But If He Did, It’d Sound Like This)

Down­load 14 Great Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books and Free eBooks

92nd Street Y Launches a New Online Archive with 1,000 Recordings of Literary Readings, Musical Performances & More

Kurt Von­negut once com­ment­ed, in an inter­view with Joseph Heller, that the best audi­ence he had ever encoun­tered was at the 92nd Street Y in New York. â€śThose peo­ple know every­thing. They are wide awake and respon­sive.”

Locat­ed at the cor­ner of 92nd Street and Lex­ing­ton Avenue, the 92Y has a ven­er­a­ble his­to­ry of pub­lic per­for­mance, con­ver­sa­tion, poet­ry and beyond. Von­negut him­self appeared at the 92Y sev­en times to read aloud from his own work. (Includ­ing this read­ing from Break­fast of Cham­pi­ons three years before the book was pub­lished.)

Cul­tur­al pro­gram­ming has been a focus at the 92Y since it opened in 1874. Orig­i­nal­ly, it served most­ly Ger­man-Jew­ish men (note, it isn’t a YMCA, but a YM-YWHA—Young Men’s and Women’s Hebrew Asso­ci­a­tion). But the Kauf­mann Con­cert Hall opened in 1930, and that’s where a ver­i­ta­ble Who’s Who of not­ed enter­tain­ment, pol­i­tics, sports, and sci­ence fig­ures have appeared over the years, speak­ing to that “wide awake and respon­sive” audi­ence.

Lucky for the rest of us, the 92Y record­ed the vast major­i­ty of those per­for­mances. And now 1,000 record­ings appear on a new site, 92Y On Demand. It’s a fan­tas­tic archive of audio and video files, search­able by top­ic, year or per­former name.

It’s all there: Yogi Berra look­ing back on his life and career. A 1961 read­ing by a young Nadine Gordimer. Harold Pin­ter read­ing his own short sto­ries and weigh­ing in on the Bea­t­les vs. the Rolling Stones. AndrĂ©s Segovia play­ing a clas­si­cal gui­tar recital. Lou Reed speak­ing on the eve of his live per­for­mance of Berlin (top). Bil­ly Crys­tal (below) on roast­ing Muham­mad Ali.

92Y is home to the Unter­berg Poet­ry Cen­ter, so the new archive abounds with poet­ry read­ings. Dylan Thomas read there in 1953. Two years ear­li­er play­wright Thorn­ton Wilder appeared and read from Emi­ly Dickinson’s work. And clos­er to our own time, Paul McCart­ney recent­ly read from his own poet­ry.

See many more cel­e­brat­ed fig­ures such as Maria Bam­fordMau­rice SendakDan Sav­ageJunot DĂ­az and Jamaica Kin­caid read and dis­cuss their work at 92Y On Demand.

Relat­ed Con­tent:

Hear Kurt Vonnegut’s Very First Pub­lic Read­ing from Break­fast of Cham­pi­ons (1970)

Lou Reed Rewrites Edgar Allan Poe’s “The Raven.” See Read­ings by Reed and Willem Dafoe

Allen Gins­berg Gets Heck­led by Beat Poet Gre­go­ry Cor­so at a 1973 Poet­ry Read­ing

Kate Rix writes about dig­i­tal media and edu­ca­tion. Fol­low her on Twit­ter.

Everything You Wanted to Know About the L.A. Aqueduct That Made Roman Polanski’s Chinatown Famous: A New UCLA Archive

chinatown-nicholson

Next year marks the 40th anniver­sary of a mod­ern clas­sic, Roman Polanski’s Chi­na­town. And sure­ly no oth­er film has even come close to mak­ing the con­struc­tion of an aque­duct so thrilling.

For sure, the siz­able serv­ings of incest, cor­rup­tion, and greed help car­ry Robert Towne’s bril­liant screen­play. But under Towne’s script are the bones of anoth­er sto­ry, the sto­ry of an engi­neer­ing feat that eclipsed the Pana­ma Canal. Yes we’re talk­ing about the build­ing of the great Los Ange­les aque­duct start­ing in 1908.

In the pref­ace to the script Towne wrote this, “the great crimes in Cal­i­for­nia have been com­mit­ted against the land—and against the peo­ple who own it and future gen­er­a­tions. It was only nat­ur­al that the script should evolve into the sto­ry of a man who raped the land and his own daugh­ter.”

Towne didn’t wor­ry about stick­ing to the facts (he set the action of Chi­na­town in the 1930s—an inher­ent­ly more glam­orous peri­od, espe­cial­ly in Los Ange­les). Some even argue that the film cre­ates an entire­ly dif­fer­ent (and wrong) his­to­ry of the project that is remem­bered as fact.

UCLA has cre­at­ed the Los Ange­les Aque­duct Dig­i­tal Plat­form, a col­lec­tion of arti­cles, maps, images and gen­er­al his­to­ry of the project and time that sets the record straight. Among its great­est resources are those about the film that made South­ern Cal­i­for­ni­a’s water issues famous. In fact, there is an abun­dance of infor­ma­tion about the film itself, even if it wasn’t his­tor­i­cal­ly accu­rate.

There are links to, among oth­er resources, a con­ver­sa­tion with Robert Towne where he dis­cuss­es his inspi­ra­tion for the screen­play.

Kate Rix writes about dig­i­tal media and edu­ca­tion. Fol­low her on Twit­ter.

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