THE UTILIZATION OF THE FILM MEDIUM BY AMERICAN ART MUSEUMS

This study examines the film collection and exhibition programs of American art museums. Patterns of inclusion and development have been identified in order to determine the present and potential contribution of the art museum to film collection, exhibition and study in this country. Using the grounded theory method advocated by Glaser and Strauss, the research was divided into three stages. The first stage consisted of a survey of American art museums. Museum personnel were asked if their institutions included film as part of overall programming. If they replied affirmatively, they were asked to answer further questions designed to define the nature and scope of the film programs. During stage two, the survey response was analyzed on the interactive computer using software developed by Paul Blakely of California State University, Los Angeles. Results of the initial bi-variate analysis indicated that the following descriptive museum categories could be considered factors in a museum\u27s decision to include film in its programming: (1) dominant time period of collection; (2) dominant geographic origins of collection; (3) type of museum; (4) governing authority; (5) population of the community in which the museum is located. Stage three consisted of interviews with personnel from ten art museums located across the United States that reflected aspects of the above variables. Interviews were guided by hypotheses developed from the information gathered from the museum survey, preliminary interviews with museum personnel and readings in museum history. It became apparent during the research that the art museum is an institution highly suitable for the establishment and development of film collection and exhibition programs. Many such programs now exist. A few of these programs are national in scope. Many are oriented towards servicing the needs of their geographic region or local community. Some programs have been developed to utilize film as a resource to teach about art and artists, others collect and/or exhibit film for its value as art. Many factors are operant in the decision to establish a film program. The general nature and chartered purpose of the individual museum is important. General attitudes towards film affect the decision. Specific community support and the contributions of individuals are crucial. Once a program is established, its growth and development are dependent on the needs and purposes of the parent museum and the interest and support of its audience. Also operant are the interests and concerns of the individuals running the film program. Another factor is the amount and kind of exposure to film that is provided by other institutions in the community. The general trends and tendencies of the particular era in which a program is established also have an effect on its development. These various factors coalesce in the establishment and development of film programs in art museums in the United States. This study reaches the following conclusions: (1) Art museum film programs contribute significantly to film exhibition in the United States. (2) Only a few art museums have developed into major film archives. Most of the film acquisition programs in art museums are geared to the development of working collections to support exhibition. (3) Film study on an advanced level is supported by only a few museums. (4) Finally, museum film programs are fairly recent phenomena and in the elementary stages of development. Further growth will depend on the ability of individual programs to unite in a cooperative effort to share information and resources in the pursuit of mutually significant goals