The Benson Collection acquired from him a large selection of materials including original posters, lobby cards, still photographs, flyers, and broadsides advertising Mexican films from the 1930s to the 1990s.
These resources have supported publications on the development of Mexican film production including the “golden age,” 1936-1956, and specialty subjects such as posters, fantasy, and horror. Genre films on comedy, history, folklore, mysteries and so on are well represented.
HornRaiser campaign to build the Fine Arts Library Recording Studio in numbers:
8 matching gifts totaling $4,350
158% of our original goal
We are very excited that this campaign not only exceeded our original goal of raising $10,000, but also exceeded our stretch-goal of raising $15,000.
We are very thankful for those who contributed and helped us broadcast our message throughout the campaign.
So what’s next?
A preliminary meeting has been scheduled to start brainstorming and planning for the actual construction of the Fine Arts Library Recording Studio. We hope to have everything ready for the fall 2015 semester.
As I have mentioned before, this project is a smaller piece of a larger project called the Creativity Commons. We are still fundraising for the other studios in the Creativity Commons:
Video Production Studio, $50,000
Game Developer Studio, $35,000
Maker Workshop, $25,000
3D Design Workspace, $15,000
Recording Studio (funded!)
While these tools are available in other areas on campus, they are restricted to students or a certain major. The Creativity Commons will be fully accessible to all current UT students, faculty, and staff.
To give a gift to support the Creativity Commons, click here, or click here to read a previous post with more detailed funding opportunities for individuals or corporations.
In a harried world where you can hardly escape the din of constant communication and the proliferation of electronic gadgets, there’s a nascent desire to slow down and take in the mad rush of life. You can find this peaceful revolt against modernity in the community of vinyl music enthusiasts or the slow food movement or in DIY communities that encourage personal creativity and self-sufficiency. And now there’s a community of like-minded folks who have found a similar passion in a device that is an almost perfect antithesis to modern concepts of technology.
The rediscovery of the typewriter by retro fetishists prompted filmmakers Christopher Lockett and Gary Nicholson to embark on making a documentary about the machine’s importance to both our past and our future.
The documentary features 30+ interviews with authors, collectors, journalists, professors, bloggers, students, artists, inventors and repairmen (and women) who meet for “Type-In” gatherings to both celebrate and use their decidedly low-tech typewriters in a plugged-in world. Authors Robert Caro and David McCullough, combined winners of 4 Pulitzer Prizes, 3 National Book Awards and a Presidential Medal of Freedom, and both avid typewriter users, provide fundamental commentary about process and the value of slowing down, writing actual drafts and revising in a world of instant, draft-less editing.
The film was inspired by a May 2010 article in Wired magazine called “Meet The Last Generation of Typewriter Repairman.” Director Lockett and producer Nicholson discussed the importance of the typewriter in 20th century literature, their conclusion being that every great novel of the 20th century was written on one, and if typewriters are in their final days, they deserved to be celebrated one last time.
Funded largely through a Kickstarter campaign, the film eventually featured not only typewriter people — the aforementioned technicians, collectors, bloggers, users and fans — but famous typewriters as well. The film features machines once owned by Ernest Hemingway, Jack Kerouac, Tennessee Williams, John Steinbeck, Jack London, Sylvia Plath, George Bernard Shaw, John Lennon, Joe DiMaggio, Helen Keller, the Unabomber, John Updike, Ray Bradbury and Ernie Pyle.
The screening of “The Typewriter in the 21st Century” will be followed by a Q&A featuring producer Gary Nicholson and John Payton, owner of a typewriter “museum” in Taylor, Texas.
The event will be preceded by a small public reception at 5 p.m.
Loving will use scenes from (500) Days of Summer, Moonrise Kingdom, Eternal Sunshine of the Spotless Mind, Crazy, Stupid, Love, among others, to explore the dynamics of romance.
Loving’s research focuses on the relationship support process, with an emphasis on investigating the reasons for — and consequences of — romantically-involved individuals’ conversations with friends and family about the romantic relationship.
The free event takes place in the Student Activity Center Auditorium (SAC 1.402) at 6 p.m. on Tuesday, February 12, 2013. Free pizza (while it lasts) for attendees.
Science Study Break is hosted by the University of Texas Libraries and supported by the University Federal Credit Union.
The program will be at 6 p.m. in Garrison Hall, Room 0.102. It is free and open to the public.
Pop culture and the academy collide as Science Study Break features relevant faculty and experts from The University of Texas at Austin discussing the reality and fantasy portrayed as fact in science-themed books, television and film. Past presentations have featured presentations on bioterrorism and its treatment in the Fox thriller 24, artificial intelligence gone wild in 2001: A Space Odyssey, the comic realities of Spider-Man and epidemiological models for the proliferation of zombies.
Avellán co-founded Los Hooligan Productions with Rodriguez when the two began work on El Mariachi (1992) in 1991. She co-produced From Dusk Till Dawn (1996), Desperado (1995) and The Faculty (1998). In 2000, Los Hooligan became Troublemaker Studios, which has since generated such notable films as the Spy Kids franchise, Sin City (2005), the Rodriguez/Tarantino double-feature, B-Movie homage Grindhouse (2007), Predators (2010) and Machete (2010).
Avellán will discuss her work and rare position as a Latino woman in the traditionally male-dominated film business.
An exhibit of cinematic materials from Troublemaker Studios and Cine Las Americas as well as rare materials on the Golden Age of Mexican Cinema from the Benson’s extensive archival holdings will be on view at the Benson, as well.
Check out the trailer for Avellán’s latest production credit, just off its SXSW showing, Blacktino.