By Scott MacDonald
Bringing alive a amazing second in American cultural historical past, Scott MacDonald tells the colourful tale of ways a small, yard association within the San Francisco Bay region emerged within the Sixties and developed to turn into a tremendous strength within the improvement of self reliant cinema. Drawing from broad conversations with women and men an important to Canyon Cinema, from its e-newsletter Canyon Cinemanews, and from different key resources, MacDonald deals a full of life chronicle of the lifestyles and instances of this influential, idiosyncratic movie exhibition and distribution collective. His e-book gains many basic files which are as enticing and correct now as they have been while initially released, together with essays, poetry, experimental writing, and drawings.
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Extra resources for Canyon Cinema: The Life and Times of an Independent Film Distributor
Writing/assembling a book of this sort is a long-term proposition. I began conceiving of Canyon Cinema in the late 1990s. In 2001 and 2002 I conducted interviews with people of particular importance to Canyon Cinema. During the winter/spring of 2002, I read the entire run of the Cinemanews and began to develop a clearer sense of what might be available; in the winter/spring of 2004, thanks to a National Endowment for the Humanities Fellowship I held from January through August 2004, I narrowed my selection and began the process of collecting the necessary permissions (in the current copyright climate, permission must be granted for every essay, letter, drawing, picture, and interview published), and continued to talk with people who had contributed to or worked with Canyon.
Unpublished interview with Angerame, May 22, 2006. By Brakhage, produced by Peter Becker and Kate Elmore for Criterion and released in 2003, includes twenty-six Brakhage films, including such frequently rented works as Window Water Baby Moving (1959) and Mothlight (1963). 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?
The Canyon Cinema rental catalog continued to grow, but by the early 1970s the number of rental requests was leveling off and operating revenues were down. When Intersection was forced to move out of its Union Street space, Canyon lost its facilities as well. Kramer moved Canyon to a warehouse in Sausalito, where the organization remained until Diane Kitchen moved it back to San Francisco. As Canyon distribution expanded and became increasingly professionalized, the community spirit that seems to have characterized the early organization did become more diffused, except at Canyon board meetings, which sometimes continued to suggest the organization’s earlier anarchic spirit.
Canyon Cinema: The Life and Times of an Independent Film Distributor by Scott MacDonald