The Fred Zinnemann papers span the years 1885-2001 (bulk 1950s-1980s) and encompass 93 linear feet of
manuscripts, 17.5 linear feet of photographs, 32 posters, and 36 artworks. The collection contains
production files (scripts, production material, and correspondence); television files; story material
(correspondence and supplementary material compiled by or submitted to Zinnemann for consideration);
correspondence (from the mid-1940s; however, the bulk of the letters are from the 1960s to the 1990s,
with each succeeding decade yielding more correspondence); subject files (correspondence and clippings on
various organizations and film festivals, along with biographical material on Zinnemann); and
photographs. Many of the feature film scripts are annotated by Zinnemann and most of the scripts for
short films contain his thumbnail storyboard pencil sketches.
Fred Zinnemann was an Austrian-born director and producer who emigrated to the United States in 1929.
His American film career spanned from 1930 to 1982. A research job at Metro-Goldwyn-Mayer (MGM) led to a
directing job in the Shorts Department. Over a four-year period Zinnemann directed eighteen short films,
including several Pete Smith Specialties. He directed two Academy Award-winning short subjects: THAT
MOTHERS MIGHT LIVE (1938) and BENJY (1951). Zinnemann made the transition to features and directed such
notable films as HIGH NOON (1952), OKLAHOMA! (1955), THE NUN'S STORY (1959), THE DAY OF THE JACKAL
(1973), and JULIA (1977). His seven nominations in the directing category include Academy Awards for FROM
HERE TO ETERNITY (1953) and A MAN FOR ALL SEASONS (1966) (he also received an Academy Award as the
producer of that film when it won Best Picture). Zinnemann served on the Academy Board of Governors in
93 linear feet of papers.
17.5 linear feet of photographs.
36 production artworks
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