CinemaTexas Notes : : The Early Days of Austin Film Culture / / ed. by Collins Swords, Louis Black.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package 2018
• MitwirkendeR: Almendarez, Valentin,; Barbaro, Nick,; Baumgarten, Marjorie,; Berg, Charles Ramírez,; Black, Louis,; Draper, Ellen,; Fore, Steve,; Greene, Kelly,; Hansen, Brian,; Hartack, Don,; Henley, John,; Laemmle, Ann,; Lellis, George,; Lowry, Ed,; Mahoney, Marie,; Rabinovitz, Lauren,; Rodowick, D. N.,; Selig, Michael,; Spector, Warren,; Theberge, Rita,
• HerausgeberIn: Black, Louis,; Swords, Collins,
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©2018
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource (401 p.)
• Other title: Frontmatter --; CONTENTS --; Preface --; Introduction to CinemaTexas --; Reflections on CinemaTexas --; I. USA FILM HISTORY --; Introduction --; Intolerance (dir. D. W. Griffith, 1916) --; Sunrise (dir. F. W. Murnau, 1927) --; Long Pants (dir. Frank Capra, 1927) --; Sherlock Jr. (dir. Buster Keaton, 1924) --; All Quiet on the Western Front (dir. Lewis Milestone, 1930) --; Mr. Smith Goes to Washington (dir. Frank Capra, 1939) --; Citizen Kane (dir. Orson Welles, 1941) --; North by Northwest (dir. Alfred Hitchcock, 1959) --; Corruption of the Damned (dir. George Kuchar, 1965) --; Necrology (dir. Standish Lawder, 1971) --; Five Easy Pieces (dir. Bob Rafelson, 1970) --; Nashville (dir. Robert Altman, 1975) --; II. HOLLYWOOD AUTEURS --; Ford, Hawks, Sturges, Minnelli, Sirk --; Stagecoach (dir. John Ford, 1939) --; The Man Who Shot Liberty Valance (dir. John Ford, 1962) --; His Girl Friday (dir. Howard Hawks, 1940) --; Red River (dir. Howard Hawks, 1948) --; Sullivan’s Travels (dir. Preston Sturges, 1941) --; Hail the Conquering Hero (dir. Preston Sturges, 1944) --; Meet Me in St. Louis (dir. Vincente Minnelli, 1944) --; The Band Wagon (dir. Vincente Minnelli, 1953) --; All That Heaven Allows (dir. Douglas Sirk, 1955) --; Imitation of Life (dir. Douglas Sirk, 1959) --; III. CINEMA-FIST: RENEGADE TALENTS --; Ulmer, Ray, Aldrich, Fuller, Welles, Peckinpah --; Detour (dir. Edgar G. Ulmer, 1945) --; They Live by Night (dir. Nicholas Ray, 1948) --; In a Lonely Place (dir. Nicholas Ray, 1950) --; Kiss Me Deadly (dir. Robert Aldrich, 1955) --; Ulzana’s Raid (dir. Robert Aldrich, 1972) --; Forty Guns (dir. Samuel Fuller, 1957) --; The Naked Kiss (dir. Samuel Fuller, 1964) --; Touch of Evil (dir. Orson Welles, 1958) --; The Wild Bunch (dir. Sam Peckinpah, 1969) --; Bring Me the Head of Alfredo Garcia (dir. Sam Peckinpah, 1974) --; IV. AMERICA’S SHADOW CINEMA --; B Movies, Exploitation Films, and the Avant-Garde --; Hollywood’s Shadow Cinema --; My Name Is Julia Ross (dir. Joseph H. Lewis, 1945) --; Gun Crazy (dir. Joseph H. Lewis, 1950) --; Films of Maya Deren (dir. Maya Deren, 1943–1958) --; Scorpio Rising (dir. Kenneth Anger, 1964) --; Two Thousand Maniacs! (dir. Herschell Gordon Lewis, 1964) --; The Last Movie (dir. Dennis Hopper, 1971) --; Caged Heat (dir. Jonathan Demme, 1974) --; Caged Heat: Second Thoughts --; The Texas Chainsaw Massacre (dir. Tobe Hooper, 1974) --; Assault on Precinct 13 (dir. John Carpenter, 1976) --; Appendix. Original Scanned CinemaTexas Note --; Bibliography --; Contributors --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781477315453; 9783110745306
• DOI: 10.7560/315439
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Collins Swords, Louis Black.

Austin’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. This 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, CinemaTexas Notes 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.