Pansy is determined to live life on her own terms. She's got a head on her shoulders and she's not afraid to use it. And she won't let anyone sway her, although a handsome stranger does have her thinking... Clive Cooper is no stranger to living fast and loose, but when he meets a beautiful woman on a train his determination to remain single rolls off like a tumbleweed in a dust storm. She's wild and free, stronger than any woman he's ever met, but his heart knows there's a softer side to her. He wants to find it—even if it means biding his time with the Wyldest Bloom.
Explore the richest underwater kingdom on earth, sail past the world's most photographed opera house, gaze over the rain forest from a private balcony, or see towering rock formations carved by the ocean--"Fodor's Australia 2008" offers all these experiences and more.
Martin Suckling's critically acclaimed Candlebird is a stunning song-cycle for baritone voice and ensemble, based on the poems of Don Paterson. The first performance was given by Leigh Melrose, baritone, and the London Sinfonietta, conducted by Nicholas Collon in the Queen Elizabeth Hall, London, on May 29, 2011.
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.
