Canyon Cinema: The Life and Times of an Independent Film by Scott MacDonald

By Scott MacDonald

Bringing alive a amazing second in American cultural background, Scott MacDonald tells the colourful tale of the way a small, yard association within the San Francisco Bay zone emerged within the Nineteen Sixties and advanced to turn into an immense strength within the improvement of self sufficient cinema. Drawing from vast conversations with women and men the most important to Canyon Cinema, from its e-newsletter Canyon Cinemanews, and from different key assets, MacDonald deals a full of life chronicle of the existence and instances of this influential, idiosyncratic movie exhibition and distribution collective. His ebook positive factors many fundamental files which are as attractive and suitable now as they have been while initially released, together with essays, poetry, experimental writing, and drawings.

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By Scott MacDonald

Bringing alive a amazing second in American cultural background, Scott MacDonald tells the colourful tale of the way a small, yard association within the San Francisco Bay zone emerged within the Nineteen Sixties and advanced to turn into an immense strength within the improvement of self sufficient cinema. Drawing from vast conversations with women and men the most important to Canyon Cinema, from its e-newsletter Canyon Cinemanews, and from different key assets, MacDonald deals a full of life chronicle of the existence and instances of this influential, idiosyncratic movie exhibition and distribution collective. His ebook positive factors many fundamental files which are as attractive and suitable now as they have been while initially released, together with essays, poetry, experimental writing, and drawings.

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4. For a history of early commercial distribution, see Charles Musser, The Emergence of Cinema: The American Screen to 1907 (Berkeley: University of California Press, 1990); 30 Introduction and Benjamin Hampton’s History of the American Film Industry, from Its Beginnings to 1951 (New York: Dover, 1970). 5. ” “Independent film” has been co-opted by “low-budget” commercial filmmaking. And “alternative” is often useful, though many makers would rather see their films as valuable cultural contributions in their own right, rather than as alternatives to something else.

45. Conner had become concerned with what might happen if Canyon were to go belly-up. Would there be enough money to pay for returning the hundreds of films in its collection to their owners? If Canyon accumulated debt, who would be responsible? Might those members whose films had earned the most be considered financially responsible for the organization’s debts? Might films be seized and sold to pay off debts? Since the Canyon board could not deal with these questions to Conner’s satisfaction, he felt he had no option but to withdraw from the organization he had been so important to for so long.

Are specious and obscure and make little contribution to the exploration of the medium. . ” 13. See Cecile Starr’s comments in MacDonald, Cinema 16, 82 – 83. 14. Bob Pike, in his “A Critical Study of the West Coast Experimental Film Movement” (master’s thesis, University of California, Los Angeles, 1960), 164. I am grateful to The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (Berkeley: University of California Press, 2005), for David James’s discussion of Pike’s activities (219– 21).

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