In 1966, after six years of existence, the Canyon Cinema experimental film collective of San Francisco, California started its own cooperative distribution center, first listing films in the November ’66 issue of their News newsletter, in which they stated that they would be following in the footsteps of New York City’s Film-Makers’ Cooperative that had been distributing underground films since 1962.
This origin of the Canyon Cinema cooperative is covered in Scott MacDonald’s exhaustive history of the organization, in which he lays out the timeline of publication of the first two catalogs:
November 1966: Canyon lists films to rent in their News publication
December 1966: Canyon Cinema Cooperative Catalog, Number 1
1968: Catalog Number 2
1969: Catalog Number 2, Supplement Number 1
1970: Catalog Number 2, Supplement Number 2
1970: Catalog Number 2, Supplement Number 3
MacDonald states that the second Catalog was 128 pages long, but the Supplement Number 1 begins its numbering on its title page with Page 125. The...
This origin of the Canyon Cinema cooperative is covered in Scott MacDonald’s exhaustive history of the organization, in which he lays out the timeline of publication of the first two catalogs:
November 1966: Canyon lists films to rent in their News publication
December 1966: Canyon Cinema Cooperative Catalog, Number 1
1968: Catalog Number 2
1969: Catalog Number 2, Supplement Number 1
1970: Catalog Number 2, Supplement Number 2
1970: Catalog Number 2, Supplement Number 3
MacDonald states that the second Catalog was 128 pages long, but the Supplement Number 1 begins its numbering on its title page with Page 125. The...
- 4/15/2018
- by Mike Everleth
- Underground Film Journal
When I was growing up, New York 's best (now long-defunct) classical radio station, Wncn, played only American composers' music each Fourth of July. With the classical world dominated by Europeans, this was a welcome and educational corrective. In the history of American music, independence wasn't achieved until the 20th century; 19th century composers such as John Knowles Paine and George Whitefield Chadwick studied in Europe and blatantly imitated European models. Listening to their music "blind," few would guess they were Americans. There was Revolutionary War-era vocal writer William Billings, but his originality was more a lack of proper technique. Continuing Wncn's tradition, here's a look at true American classical. music.
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
- 7/4/2012
- by SteveHoltje
- www.culturecatch.com
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