For the fiftieth anniversary of the film, W.K. Stratton's definitive history of the making of The Wild Bunch, named one of the greatest Westerns of all time by the American Film Institute. Sam Peckinpah's film The Wild Bunch is the story of a gang of outlaws who are one big steal from retirement. When their attempted train robbery goes awry, the gang flees to Mexico and falls in with a brutal general of the Mexican Revolution, who offers them the job of a lifetime. Conceived by a stuntman, directed by a blacklisted director, and shot in the sand and heat of the Mexican desert, the movie seemed doomed. Instead, it became an instant classic with a dark, violent take on the Western movie tradition. In The Wild Bunch, W.K. Stratton tells the fascinating history of the making of the movie and documents for the first time the extraordinary contribution of Mexican and Mexican-American actors and crew members to the movie's success. Shaped by infamous director Sam Peckinpah, and starring such visionary actors as William Holden, Ernest Borgnine, Edmond O'Brien, and Robert Ryan, the movie was also the product of an industry and a nation in transition. By 1968, when the movie was filmed, the studio system that had perpetuated the myth of the valiant cowboy in movies like The Searchers had collapsed, and America was riled by Vietnam, race riots, and assassinations. The Wild Bunch spoke to America in its moment, when war and senseless violence seemed to define both domestic and international life. The Wild Bunch is an authoritative history of the making of a movie and the era behind it.

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.

Three unlikely friends—brainiac Hector, bullish Jack, and sarcastic Paul—find themselves braving the wilderness in search of the mythical Beast of Bear Falls in this hilarious MAX novel. As far as Paul Adams is concerned, the idea of a weekend camping in the nearby state park with his dad’s two college friends and their sons, Hector and Jack, sounds like a nightmare. But even he finds the myth of the Beast of Bear Falls—a legendary Bigfoot creature—intriguing. The trip gets off to a rough start, and calamity and disaster follow catastrophe. Against all odds, arguing most of the way, the crew face all sorts of obstacles natural and man-made. Can the three boys make it to Bear Falls and uncover the truth about the Sasquatch living there?

Robbers Roost was a hideout for outlaws and hunted men long before Butch Cassidy found it in 1884. The impenetrable wastes and wilds of this high desert country in southeastern Utah, cut through by canyons along the Green and Colorado rivers and bounded on the west by the Dirty Devil, discouraged lawmen from pursuit. Growing up on a ranch that included Robbers Roost, Pearl Baker heard many of the legends about?and talked to many who remembered?the notorious Wild Bunch. In the 1890s they spread over Utah, Wyoming, Montana, Colorado, and Arizona rustling cattle, stealing horses, robbing banks and trains, and often taking cover at Robbers Roost. Butch Cassidy and the Sundance Kid, Flat Nose George and the Curry boys, Elzy Lay, Gunplay Maxwell, the McCarty boys, Peep O'Day, Silver Tip, Blue John, and Indian Ed Newcomb?they all come to rip-roaring life while courting death in The Wild Bunch at Robbers Roost. In his introduction to the Bison Books edition, Floyd A. O'Neil, director of the American West Center at the University of Utah, discusses landscape, the law and the Wild Bunch, and Pearl Baker's lifelong preparation for this lively book.

When the last of the snow has finally melted, soccer season starts! Kevin the Star Striker and The Wild Bunch rush to their field. They have found that Mickey the bulldozer and his gang, the Unbeatables, have taken over. Kevin and his friends challenge the Unbeatables to the biggest game of their lives. Can the Wild Bunch defeat the Unbeatables, or lose their field of dreams forever? Can they do what no team has done before?

“A probing biography of the enfant terrible of 1960s and 1970s film-making . . . exhaustive and endlessly intriguing.” —Booklist Written by the film critic and historian David Weddle, this fascinating account does critical justice to an important body of cinema as it spins the tale of David Samuel Peckinpah’s dramatic, overcharged life and the turbulent times through which he moved. Sam Peckinpah was born into a clan of lumberjacks, cattle ranchers, and frontier lawyers. After a hitch with the Marines, he made his way to Hollywood, where he worked on a string of low-budget features. In 1955 he began writing scripts for Gunsmoke; in less than a year he was one of the hottest writers in television, with two classic series, The Rifleman and The Westerner, to his credit. From there he went on to direct a phenomenal series of features, including Ride the High Country, Straw Dogs, The Getaway, Pat Garrett and Billy the Kid, and The Wild Bunch. Peckinpah was both a hopeless romantic and a grim nihilist, a filmmaker who defined his era as much as he was shaped by it. Rising to prominence in the social and political upheaval of the late sixties and early seventies, Peckinpah and his generation of directors—Stanley Kubrick, Arthur Penn, Robert Altman—broke with convention and turned the traditional genres of Western, science fiction, war, and detective movies inside out. No other era in Hollywood has matched it for sheer energy, audacity, and originality; no one cut a wider path through that time than Sam Peckinpah. “Groundbreaking.” —Michael Sragow, The Atlantic

A detailed look at the work of one of America's great film directors. Sam Peckinpah helped to redefine the Western, clearing the board of genre cliches in order to present an intelligent examination of the motivation behind, and effects of, violence. The accusations against Peckinpah for making violent films, both Westerns and non-Westerns, for the sake of it as well as misogyny have become cliches themselves. Like their creator, the men who walk or ride through Peckinpah's films are deep, complex and often flawed. Technical accomplishment and the ability to draw out great preformances from his actors are only part of what sets Peckinpah's Films apart. It is their depth and intensity that make them unique. This book takes an in-depth look at the man, his early work for television, and all his films. It covers the critical reception of his films, Peckinpah's approach to film direction, his on-set behaviour, and studio interference during editing. An Appraisal of the iconography of his films plus an analysis of recurring themes and pre-occupations show that his best work was the most personal.