The History of IWM: the galleries at Crystal Palace, 1920-24.
Steeped as they are in stories of the past, it is not often that museums get to step back and take a look at their own history. The History of IWM Workshop, held at IWM London on 2 May 2012, brought together IWM staff, external researchers and several of IWM’s AHRC-funded Collaborative Doctoral Award (CDA) students to review the current state of research into IWM and discuss avenues for further investigation.
Roger Smither, Research Associate, began with a look at the pioneering work of IWM’s Film Archive. Thanks to forward-thinking individuals such as Edward Foxen Cooper and IWM’s first Curator, Charles ffoulkes, the museum had been a leader in the field of film collecting. Next came Dr Toby Haggith who looked at memory within the museum – arguing that IWM has always been, through its collections and its displays, and the thousands of interactions between staff and the public, a site of both personal and collective remembering. Dr Catherine Moriarty of the University of Brighton, ended the first panel by describing IWM’s programme of art commissions between 1981 and 2007. Her conversations with former IWM Keeper of the Department of Art, Angela Weight, revealed how this creative programme allowed artists to draw inspiration from IWM’s unparalleled collections and added an extra dimension to the museum’s displays. Dr. Moriarty ended by urging future researchers to explore the lesser known stories within IWM’s history.
William Boyd, An Ice Cream War, 1982
How do we ‘get’ history? If not at first hand, then where do the people we get it from find it themselves? I have been exploring the ways in which other people’s research into IWM Collections gets shared with a wider public. Formal works of written history and biography provide some obvious examples, which I will look at in a later post, but works of fiction offer a rather more left-field starting point.
Then there are writers who have included scenes at IWM buildings in their plots – the protagonists of both W G Sebald’s Austerlitz (2001) and Justin Cartwright’s The Song Before It Is Sung (2007) view film at the All Saints Annexe, a First World War veteran gives talks to schoolchildren in the London galleries in Pat Barker’s Another World (2001), a woman commissioned to write the biography of a First World War flying ace turned politician begins her researches here in Isabel Colegate’s Deceits of Time (1988), and the whole final chapter of Ian McEwan’s Atonement (2001) concerns a visit to the Reading Room by the central character.
Many writers of historical novels have acknowledged the help they received when researching here – examples include Len Deighton (Bomber, 1970), William Boyd (An Ice Cream War, 1982), Penelope Lively (Moon Tiger, 1987), Pat Barker (Regeneration, 1991), Elizabeth Buchan (The Light of the Moon, 1991), Leslie Thomas (Other Times, 1999), Jody Shields (The Crimson Portrait, 2006) and Sarah Waters (The Night Watch, 2006).