Amos Poe Papers
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Abstract
Amos Poe is a filmmaker, writer, and producer who became one of the leading figures of the No Wave Cinema Movement (1976-1985). The Amos Poe Papers largely preserves Poe's writing and the writing of others, which includes scripts, screenplays, and other writings, as well as journals, notebooks, photographs, and audio and moving image elements.
Biographical Note
Amos Poe (Amos Jay Porges) was born in Tel Aviv in 1949, and his family emigrated to the United States in 1957. The Russian invasion of Czechoslovakia provided a source for his first photographic series in 1968. His film career began in the early 1970s, when he made his first Super-8 films and briefly worked in distribution. Poe became one of the leading figures of the No Wave Cinema Movement (1976-1985) that developed out the New York East Village music and art community, which included Jim Jarmusch, Eric Mitchell, Beth B and Scott B, Vivienne Dick, John Lurie, Becky Johnston, James Nares and Nick Zedd. This movement embraced the artistic sensibilities of the avant-garde, French New Wave, and B-Movie genres. It was also during this period that Poe contributed writing and photography to publications specific to this scene, including NY Rocker and Traveler's Digest.
As a filmmaker, Poe cites the work of Jean-Luc Godard, John Cassavetes, and Andy Warhol as primary influences. In 1975, Poe collaborated with artist Ivan Kral (bassist of The Patti Smith Group) to create "The Blank Generation," which includes early performances of Iggy Pop, Blondie, Patti Smith, Television, Richard Hell and the Heartbreakers, The Ramones, Talking Heads, and Wayne County. Beginning in 1976, Poe experimented with the theme of alienating modernity amid new environments in his next three films, "Unmade Beds," (1976) "The Foreigner," (1978) and "Subway Riders" (1981). "Unmade Beds" is an homage to Godard's "Breathless" while "The Foreigner," starring Eric Mitchell and Debbie Harry, shares sensibilities with Jim Jarmusch's "Permanent Vacation" and Susan Seidelman's "Smithereens."
Poe's most widely distributed film, "Alphabet City" (1985) starred Vincent Spano, Kate Vernon, and Jamie Gertz. It was also during this time that Poe directed music videos for artists such as Run DMC and Anthrax. During 1985-1986, Poe wrote "Rocket Gibraltar," which starred Burt Lancaster, Macauley Culkin, Kevin Spacey, and Bill Pullman. During 1988-1990 Poe wrote a number of unproduced screenplays including "Port of Call," "The Golden Eagle," "Mrs. Dogg," "Beach House," and "Paint It Black." The production of "Triple Bogey On A Five Par Hole" marked Poe's official return to independent filmmaking in 1990. With Dolly Hall, he produced Steven Starr's "Joey Breaker," which starred Richard Edson, Gina Gershon, and Phillip Seymour Hoffman in 1992.
1993-1994 was another prolific writing period for Poe in which he completed "Kid Killer," "La Pacifica," "The Guitar," "Lodz Seven," "The Grey Nun," "Hard on Berlin," and "The Listener." In 1994 with novelist Joel Rose, Poe co-wrote and directed Stephen Baldwin and Bai Ling in the Ed Wood inspired sci-fi fantasy, "Dead Weekend." In 1998, Poe wrote and directed "Frogs For Snakes" starring Barbara Hershey, Robbie Coltrane, Ian Hart, Debi Mazar, Harry Hamlin, Clarence William III, Lisa Marie, and John Leguizamo. In 1998-1999 Poe completed "Stunning," "To Kill An Angel," "Underage" (with Dirk Wittenborn), "Bypass" and "The Night Witches." Also during this period, Poe directed videos for singer-songwriter Steve Earle and later directed and produced a portrait of the same artist, "Steve Earle: Just An American Boy" (2003). Other projects include an interpretation of Andy Warhol's "Empire" (2007) and an online, proactive platform for filmmakers, designers and artists called "Pianospecs" (2004-2012). Poe resides in New York City with his wife, artist Sarah Charlesworth, and teaches screenplay development and experimental production at New York University's Tisch School of the Arts.
Arrangement
Within each series, materials are arranged alphabetically by project title, then chronologically if dated. In some cases, the material was arranged by Poe and has retained its original organization.
Series I: Writing
Subseries A: Scripts and Screenplays
Subseries B: Film Treatments, Notes, and Notebooks
Subseries C: Source and Subject Files
Subseries D: Miscellaneous
Series II: Production Files
Subseries A: Administrative
Subseries B: Financial
Subseries C: Distribution and Promotion
Subseries D: Film Festivals
Subseries E: Project Correspondence
Series III: Press
Subseries A: About Amos Poe
Subseries B: Clips of Interest
Series IV: Teaching Materials
Subseries A: Course Components
Subseries B: Miscellaneous Reading
Series V: Correspondence
Subseries A: Professional
Subseries B: Personal
Series VI: Photography
Subseries A: Amos Poe Productions
Subseries B: Other Productions
Subseries C: Talent Files
Subseries D: Personal
Series VII: Visual Materials
Subseries A: Scrapbooks
Subseries B: Posters and Artwork
Series VIII: Film
Subseries A: Access Copies
Subseries B: Originals
Subseries C: Film Documentation
Series IX: Video
Subseries A: Access Copies
Subseries B: Originals
Subseries C: Miscellaneous Video
Series X: Audio
Subseries A: Access Copies
Subseries B: Originals
Subseries C: Miscellaneous Audio
Series XI: Objects
Series XII: Data Storage
Scope and Contents
The Amos Poe Papers contain materials that directly relate to his film career, ranging from the late 1970s through 2005. In addition, this collection largely preserves Poe's writing and the writing of others, which includes scripts, screenplays, treatments and rewrites, articles, essays, short stories, journals, notebooks, a graphic novel, lyrics, and poetry, that occasionally date back to Poe's high school and collegiate education that began in the 1960s. Elements include source material for projects that progressed beyond the writing stage. This body of components includes pre-production agreements and budgetary reports, on-set schedules and memorandums, distribution and promotional materials, teaching elements, professional and personal correspondence, production and personal photography, original artwork, scrapbooks, and original film, video, and audio recordings.
Subjects
Organizations
Genres
Conditions Governing Access
Materials are open to researchers without restriction.
Conditions Governing Use
Copyright (or related rights to publicity and privacy) for materials in this collection, created by Amos Poe was not transferred to New York University. Permission to use materials must be secured from the copyright holder.
Preferred Citation
Published citations should take the following form: Identification of item, date (if known); Amos Poe Papers; MSS 203; box number; folder number or item identifier; Fales Library and Special Collections, New York University Libraries.
Location of Materials
Immediate Source of Acquisition
Donated by Amos Poe in 2007, with accretions to the collection received in 2009 and 2016. The accession numbers associated with these gifts are 2007.203, 2009.203, and 2016.044, respectively.
Audiovisual Access Policies and Procedures
Access to some audiovisual materials in this collection is available through digitized access copies. Researchers may view an item's original container, but the media themselves are not available for playback because of preservation concerns. Materials that have already been digitized are noted in the collection's finding aid and can be requested in our reading room.
Audiovisual materials that have not been preserved may not be available to researchers. Materials not yet digitized will need to have access copies made before they can be used. To request an access copy, or if you are unsure if an item has been digitized, please contact NYU Special Collections (special.collections@nyu.edu, 212-998-2596) with the collection name, collection number, and a description of the item(s) requested. A staff member will respond to you with further information.
Born-Digital Access Policies and Procedures
Advance notice is required for the use of computer records. Original physical digital media is restricted. Born-digital materials have not been transferred and may not be available to researchers. Researchers may request access copies. To request that material be transferred, or if you are unsure if material has been transferred, please contact NYU Special Collections (special.collections@nyu.edu, 212-998-2596) with the collection name, collection number, and a description of the item(s) requested. A staff member will respond to you with further information.
About this Guide
Processing Information
Decisions about the arrangement, description, and physical interventions taken on this collection prior to 2016 have not yet been recorded. In 2016 an accretion of photographs was incorporated into the collection as part of Series VI. Photography in keeping with the collection's existing arrangement scheme.
In June 2026, box 30 was noted as missing.