The Daniel Mann papers span the years 1919-1992 (bulk 1945-1985) and encompass 20 linear feet. The collection consists of production, television, and stage files (both produced and unproduced); story files; correspondence; and subject files. The production files span the years 1952-1974 and contain scripts and film-related correspondence for some 20 of Mann's films. Of special interest in the non-film-related correspondence are handwritten letters from Mann to his parents from “somewhere in Burma,” and later India, during the last years of World War II. In these lengthy and affectionate letters Mann gives detailed descriptions of his life and his hopes in the waning months of the war, and also writes about his encounters with local peasants. The subject files include clippings, casting requests from actors, teaching projects, and fan mail from around the world.

The photograph series of the Daniel Mann papers spans the years 1952-1975 and encompasses 1.75 linear feet. The series consists of 1,798 items, including black-and-white and color prints, proof sheets, negatives, color slides and strips of 35mm positive motion picture film. The photographs are grouped into motion picture production photographs and biography photographs.

The motion picture production photographs span the years 1952-1975 and consist primarily of 8x10 scene and off-camera photographs of films directed by Mann. The material is arranged alphabetically by film title, and 19 titles are represented. Particularly well-represented are the titles "Hot Spell" (1958), "The Mountain Road" (1960), "Our Man Flint" (1966), and "The Teahouse of the August Moon" (1956).

The biography photographs span from the 1950s to 1991. They include portraits of Mann as well as photographs of Mann with Ernest Borgnine, with Donald Pleasance, with Hal Wallis, and with Mann's family. There are also photographs of Mann on the set of unidentified productions, as well as a small group of miscellaneous and unidentified photographs that do not appear to be associated directly with Mann's motion picture career.

Daniel Mann (1912-1991) was born Daniel Chugerman in Brooklyn, New York. He began his career as a musician with his own band “Daniel and His Music Lions.” He broke into stage acting and directing with a scholarship to the Neighborhood Playhouse, and later worked with the Actors Studio. Both of these institutes practiced an American variant of the Stanislavski approach to acting. During World War II, when Mann served in the U.S. Army Special Services division in the China-Burma-India Theater, he also was involved in theatrical activities. He had a series of Broadway successes starting in 1950 with the direction of William Inge’s play “Come Back, Little Sheba,” followed by Tennessee Williams's plays “The Rose Tattoo” and “A Streetcar Named Desire,” the musical “Paint Your Wagon,” and others.

Mann arrived in Hollywood in the early 1950s. His first Hollywood project, the film adaptation of COME BACK, LITTLE SHEBA (1952), received three Academy Award® nominations; lead actress Shirley Booth won an Oscar®. Lead actresses in two other Mann-directed films, Anna Magnani in THE ROSE TATTOO (1955) and Elizabeth Taylor in BUTTERFIELD 8 (1960), also earned Oscars® for their performances. Mann's other directing credits include I'LL CRY TOMORROW (1955), TEAHOUSE OF THE AUGUST MOON (1956), THE LAST ANGRY MAN (1959), OUR MAN FLINT (1966) and WILLARD (1971). His television credits include the miniseries HOW THE WEST WAS WON (1977), as well as the movies PLAYING FOR TIME (1980), which earned five Emmy® Awards, and THE MAN WHO BROKE A THOUSAND CHAINS (1987). Mann’s film and television career languished in his later years, and several prospective film projects fell through, including Byron, based on the life of the poet, and Jimmy, based on the life of cinematographer James Wong Howe; however, he continued working in the profession as a teacher of acting classes.