The Linwood G. Dunn papers span the years 1902-2001 (bulk 1944-1977) and encompass 43 linear feet. The papers consist of production files, television files, stage files, subject files, lecture files, and oversize material.

The production files contain scripts, clippings, correspondence, financial information, and production information. There is extensive documentation of Dunn’s matte work for RKO during the 1940s which includes matte shot cards specifying a scene that needs matte work, worksheets containing handwritten notes as to how the matte work should be done, and photographs of blacked-out areas which needs matte work followed by photographs of the scene with the matte. Films in the collection highlighting his matte work include TENDER COMRADE (1943), DAYS OF GLORY (1944), IT’S A WONDERFUL LIFE (1946), NOTORIOUS (1946), HONEYMOON (1947), and I REMEMBER MAMA (1948). There is also extensive production material on IT’S A MAD, MAD, MAD, MAD WORLD (1963), HAWAII (1966), and THE BIRTH (1970) which was shown in “Astrorama” at Expo ’70. Of special note is correspondence discussing the possession scene in THE EXORCIST (1973), production art for WEST SIDE STORY (1961), and a drawing of the washroom scene from HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1967) with a note citing Cary Grant as being in the scene. The unproduced files include a script and correspondence for COLD WAR IN A COUNTRY GARDEN and production material for the unrealized project WONDER CIRCUS which was to star Charles Ruggles.

The television files contain agreements, clippings, correspondence, financial information, and production material. Of interest, is production material regarding special effects to be used in episodes of STAR TREK (1966-1969).

The stage files contain scripts, clippings, financial information, production material, programs, and miscellaneous files for “The Happy Time” which incorporated special film scenery and “The Osmonds Show” which involved filming a live concert.

The subject files contain agreements, brochures, clippings, correspondence, financial information, legal papers, meeting minutes, miscellaneous papers, personal material, and transcripts. Correspondence includes letters regarding the disappearance of his first wife Eleanor Dunn, correspondence from Elmo Williams discussing his working on location for THE BIG GAMBLE (1961), a letter from Wally Gentleman discussing his problems with Stanley Kubrick on the set of 2001: A SPACE ODYSSEY (1968), a letter from Dunn discussing his reaction upon viewing color television for the first time, and a letter from Dunn regarding his meeting with Steven Spielberg. Also of interest is a letter from Dunn to Elmo Williams discussing his work as a production camera assistant on the set of HELL’S ANGELS (1930).

Other items include a handwritten list of films viewed by Dunn as a teenager from 1918 to 1919, original notes on the Acme-Dunn Optical Printer, two in-depth interviews with Dunn from the 1970s, extensive material on Film Effects of Hollywood, including correspondence of executive employees Don Weed and Cecil Love, documentation on formats and color processes such as 3-D and Dynavision, and information regarding the development of the Electronic Composite Printer. Also of interest is a technical bulletin sent out to film exhibitors regarding installation of 70mm projectors for a screening of SPARTACUS (1960).

The lecture files contain correspondence, lists, and notes regarding lectures delivered by Dunn at conferences, festivals, and universities.

The oversize material includes a newspaper prop used in THE CITY ON THE EDGE OF FOREVER (1967) from STAR TREK (1966-1969).