{"product_id":"cinematexas-notes-the-early-days-of-austin-film-culture-paperback-softback-9781477315446","title":"CinemaTexas Notes; The Early Days of Austin Film Culture (Paperback \/ softback) 9781477315446","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eCinemaTexas Notes\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eThe Early Days of Austin Film Culture\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eLouis Black (Edited by), Collins Swords (Edited by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781477315446, University of Texas Press\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 21 February 2018\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e416 pages\u003cbr\u003e22.9 x 15.2 x 3.8 cm, 0.567 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003eAustin is known as a film-watching city, but that reputation doesn't come from nowhere. Its seeds were planted in CinemaTexas, the film programming unit of UT's Department of Radio-Television-Film... [the CinemaTexas Program Notes] were Rotten Tomatoes, IMDb, and \u003ci\u003eCahiers du CinÉma\u003c\/i\u003e melded into zine form.\u003c\/div\u003e (Austin Chronicle) \u003cdiv\u003eIn the early 1970s film scholarship was still in its (relative) infancy, hampered by the difficulty of gaining access to the films themselves. At the University of Texas, Austin, a group of ambitious graduate students took on the challenge of writing program notes for a wide-ranging film series, based on fresh viewings of the movies. . . [There is] a nostalgia for the time and place these essays evoke, before the emergence of home video and streaming. Contributor Charles Ramirez Berg accurately describes them as “love letters to the cinema” and they are well worth reading.\u003c\/div\u003e - Leonard Maltin (leonardmaltin.com) \u003cdiv\u003ePut this on your Austin shelf next to Alison Macor's essential history, \u003ci\u003eChainsaws, Slackers, and Spy Kids\u003c\/i\u003e, and Mike Blizzard's documentary film \u003ci\u003eAlso Starring Austin\u003c\/i\u003e. ...Along with a bit of history, we are lucky enough to read in this book the incredibly well-researched--especially for the pre-internet days-program notes from CinemaTexas days.\u003c\/div\u003e (austin360)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eAustin’s thriving film culture, renowned for international events such as SXSW and the Austin Film Festival, extends back to the early 1970s when students in the Department of Radio-Television-Film at the University of Texas at Austin ran a film programming unit that screened movies for students and the public. Dubbed CinemaTexas, the program offered viewers a wide variety of films-old and new, mainstream, classic, and cult-at a time when finding and watching films after their first run was very difficult and prohibitively expensive. For each film, RTF graduate students wrote program notes that included production details, a sampling of critical reactions, and an original essay that placed the film and its director within context and explained the movie’s historical significance. Over time, CinemaTexas Program Notes became more ambitious and were distributed around the world, including to luminaries such as film critic Pauline Kael.\u003c\/p\u003e\n\u003cp\u003eThis anthology gathers a sampling of CinemaTexas Program Notes, organized into four sections: “USA Film History,” “Hollywood Auteurs,” “Cinema-Fist: Renegade Talents,” and “America’s Shadow Cinema.” Many of the note writers have become prominent film studies scholars, as well as leading figures in the film, TV, music, and video game industries. As a collection, \u003ci\u003eCinemaTexas Notes\u003c\/i\u003e strongly contradicts the notion of an effortlessly formed American film canon, showing instead how local film cultures-whether in Austin, New York, or Europe-have forwarded the development of film studies as a discipline.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cul\u003e\n\u003cli\u003ePreface\u003c\/li\u003e\n\u003cli\u003eIntroduction to CinemaTexas, by Charles Ramírez Berg\u003c\/li\u003e\n\u003cli\u003eReflections on CinemaTexas, by George Lellis, Lauren Rabinovitz, D. N. Rodowick, and Louis Black\u003c\/li\u003e\n\u003cli\u003eI. USA Film History\u003cul\u003e\n\u003cli\u003eIntroduction, by Steve Fore and Louis Black\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eIntolerance\u003c\/i\u003e (dir. D. W. Griffith, 1916), by Charles Ramírez Berg\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eSunrise\u003c\/i\u003e (dir. F. W. Murnau, 1927), by Warren Spector\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eLong Pants\u003c\/i\u003e (dir. Frank Capra, 1927), by D. N. Rodowick\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eSherlock Jr.\u003c\/i\u003e (dir. Buster Keaton, 1924), by D. N. Rodowick\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eAll Quiet on the Western Front\u003c\/i\u003e (dir. Lewis Milestone, 1930), by George Lellis\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eMr. Smith Goes to Washington\u003c\/i\u003e (dir. Frank Capra, 1939), by Marie Mahoney\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eCitizen Kane\u003c\/i\u003e (dir. Orson Welles, 1941), by John Henley\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eNorth by Northwest\u003c\/i\u003e (dir. Alfred Hitchcock, 1959), by Ed Lowry\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eCorruption of the Damned\u003c\/i\u003e (dir. George Kuchar, 1965), by Nick Barbaro\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eNecrology\u003c\/i\u003e (dir. Standish Lawder, 1971), by Nick Barbaro\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eFive Easy Pieces\u003c\/i\u003e (dir. Bob Rafelson, 1970), by Michael Selig\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eNashville\u003c\/i\u003e (dir. Robert Altman, 1975), by Lauren Rabinovitz\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eII. Hollywood Auteurs: Ford, Hawkes, Sturges, Minnelli, Sirk\u003cul\u003e\n\u003cli\u003eIntroduction, by Steve Fore and Louis Black\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eStagecoach\u003c\/i\u003e (dir. John Ford, 1939), by Ed Lowry\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Man Who Shot Liberty Valance\u003c\/i\u003e (dir. John Ford, 1962), by Don Hartack\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eHis Girl Friday\u003c\/i\u003e (dir. Howard Hawks, 1940), by Lauren Rabinovitz\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eRed River\u003c\/i\u003e (dir. Howard Hawks, 1948), by Charles Ramírez Berg\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eSullivan's Travels\u003c\/i\u003e (dir. Preston Sturges, 1941), by Ann Laemmle \u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eHail the Conquering Hero\u003c\/i\u003e (dir. Preston Sturges, 1944), by Michael Selig\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eMeet Me in St. Louis\u003c\/i\u003e (dir. Vincente Minnelli, 1944), by George Lellis\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eBand Wagon\u003c\/i\u003e (dir. Vincente Minnelli, 1953), by Ed Lowry and D. N. Rodowick\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eAll That Heaven Allows\u003c\/i\u003e (dir. Douglas Sirk, 1955), by Valentin Almendarez \u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eImitation of Life\u003c\/i\u003e (dir. Douglas Sirk, 1959), by D. N. Rodowick\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eIII. Cinema-Fist: Renegade Talents: Ulmer, Ray, Aldrich, Fuller, Welles, Peckinpah\u003cul\u003e\n\u003cli\u003eIntroduction, by Steve Fore and Louis Black\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eDetour\u003c\/i\u003e (dir. Edgar G. Ulmer, 1945), by D. N. Rodowick\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThey Live by Night\u003c\/i\u003e (dir. Nicholas Ray, 1948), by Marjorie Baumgarten\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eIn a Lonely Place\u003c\/i\u003e (dir. Nicholas Ray, 1950), by Ellen Draper\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eKiss Me Deadly\u003c\/i\u003e (dir. Robert Aldrich, 1955), by Steve Fore\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eUlzana's Band\u003c\/i\u003e (dir. Robert Aldrich, 1972), by Steve Fore\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eForty Guns\u003c\/i\u003e (dir. Samuel Fuller, 1957), by Valentin Almendarez\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eNaked Kiss\u003c\/i\u003e (dir. Samuel Fuller, 1964), by Ed Lowry\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eTouch of Evil\u003c\/i\u003e (dir. Orson Welles, 1958), by D. N. Rodowick\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Wild Bunch\u003c\/i\u003e (dir. Sam Peckinpah, 1969), by Nick Barbaro\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eBring Me the Head of Alfredo Garcia\u003c\/i\u003e (dir. Sam Peckinpah, 1974), by Louis Black\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eIV. America's Shadow Cinema: B Movies, Exploitation Films, and the Avant-Garde\u003cul\u003e\n\u003cli\u003eIntroduction, by Steve Fore and Louis Black\u003c\/li\u003e\n\u003cli\u003eHollywood's Shadow Cinema\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eMy Name is Julia Ross\u003c\/i\u003e (dir. Joseph H. Lewis, 1945), by Louis Black\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eGun Crazy\u003c\/i\u003e (dir. Joseph H. Lewis, 1950), by Ed Lowry\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eFilms of Maya Deren\u003c\/i\u003e (dir. Maya Deren, 1943–1958), by Lauren Rabinovitz and Marjorie Baumgarten\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eScorpio Rising\u003c\/i\u003e (dir. Kenneth Anger, 1964), by Ed Lowry\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eTwo Thousand Maniacs!\u003c\/i\u003e (dir. Herschell Gordon Lewis, 1964), by Brian Hanson, Warren Spector, and Louis Black\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Last Movie\u003c\/i\u003e (dir. Dennis Hopper, 1971), by Nick Barbaro, Louis Black, and Ed Lowry\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eCage Heat\u003c\/i\u003e (dir. Jonathan Demme, 1974), by Louis Black\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eCaged Heat\u003c\/i\u003e: Second Thoughts, by Marjorie Baumgarten\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Texas Chainsaw Massacre\u003c\/i\u003e (dir. Tobe Hooper, 1974), by Rita TheBerge, Ed Lowry, and Louis Black\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eAssault on Precinct 13\u003c\/i\u003e (dir. John Carpenter, 1976), by Ann Laemmle\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eAppendix. Original Scanned CinemaTexas Note: \u003ci\u003eNight of the Living Dead\u003c\/i\u003e (dir. George Romero, 1968), by Kelly Greene\u003c\/li\u003e\n\u003cli\u003eBibliography\u003c\/li\u003e\n\u003cli\u003eContributors\u003c\/li\u003e\n\u003cli\u003eIndex\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"University of Texas Press","offers":[{"title":"Brand New","offer_id":52589127696664,"sku":"9781477315446","price":22.59,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/cinematexas-notes-the-early-days-of-austin-film-culture-paperback-softback-9781477315446","provider":"Freshly Printed Books","version":"1.0","type":"link"}