2fall & winter 014 | rights catalog university of texas press | Index by Title | Aaron Siskind, Siskind....10 –13 Contents Architectural Vessels of the Moche, Wiersema..........80 –81 Books for the Trade..................... 4–41 Argentine, Mexican, and Guatemalan Photography, Trade Backlist................................ 42–43 Foster .........................60 – 61 Bazin on Global Cinema, General Interest ....................... 44–55 1948–1958, Bazin..........82–83 Becoming Belafonte, Books for Scholars ....................56–93 Smith .........................30 –31 Scholars Backlist ............................94–95 Being Miss America, Shindle .........................14 –15 New in Paper...............................96–103 Beyond the Forest, Kantor ........................38–41 Texas on Texas . 104–119 Breaking Out of Beginner’s Spanish (20th anniversary Texas Backlist..............................120–121 edition), Keenan ...........34–35 Sales Information............................122 Bronx Boys, Shames ...... 16–19 The Casa del Deán, Sales Representatives .............122–123 Morrill........................62–63 Children of Afghanistan, Staff List ....................................124–125 Heath & Zahedi..................86 Index by Author................................125 The Cinema of Robert Rodriguez, Aldama ............85 Rights Information .........................126 Cinema, Slavery, and Brazilian Nationalism, Gordon ..........84 Competitive Archaeology in Handbook of Latin American The Murals of Cacaxtla, Jordan, Corbett .................88 Studies, No. 69, Brittenham ..................72–75 Courage, Resistance, and McCann & North . 66 Women in Ciudad Juárez, Naturally Healthy Mexican Staudt & Méndez ................ 71 Impunity, Human Rights, Cooking, Peyton ...........36–37 A Cuban in Mayberry, and Democracy, Wright.......67 North Africa, Revised Edition, Pérez Firmat.................46–47 Into the Field, Dahlby....50 –51 Naylor .............................90 The Devil’s Backbone, Jack Allen’s Kitchen, Queer Beirut, Merabet ........89 Wittliff........................20–23 Gilmore & Dupuy ........114 –117 Discovering the Olmecs, Red State, Thorburn . 119 Grove .........................76–77 José Martí, López .........48–49 The Restoration of the Roman Domestic Disturbances, Kurdish Awakening, Forum in Late Antiquity, Mata ...............................70 Bengio .............................87 Kalas..........................92–93 Willie Nelson by Michael O’Brien. From The Face of Texas by Michael O’Brien and Elizabeth O’Brien. The Educator’s Guide to Texas The Making of Gone With The Texas on the Table, Thompson- School Law (eighth edition), Wind, Wilson.................. 6–9 Anderson .................106–109 We live in an information-rich world. As a publisher of international scope, the University of Texas Walsh et al. ......................118 Mario Vargas Llosa, Up Against the Wall, Press serves the University of Texas at Austin community, the people of Texas, and knowledge seekers around The Face of Texas, O’Brien & O’Brien........110 –113 Williams ..........................68 Casey & Watkins ................69 the globe by identifying the most valuable and relevant information and publishing it in books, journals, and The Family Jewels (updated Miguel Covarrubias, Georgia What Makes a Man?, digital media that educate students; advance scholarship in the humanities and social sciences; and deepen edition), Prados ............32–33 O’Keeffe Museum . .26–29 al-Daif & Helfer .................55 humanity’s understanding of history, current events, contemporary culture, and the natural environment. The Fate of Earthly Things, Modern Architecture Who’s Afraid of Meryl Streep?, Bassett ........................78–79 in Latin America, al-Daif .............................54 The Flatlanders, Davis ...24–25 Carranza & Lara...........58–59 With the Saraguros, Foodways and Daily Life Mr. America, Fair.........52–53 Syring .............................64 in Medieval Anatolia, Trépanier ......................... 91 Copyright © 2014 by the University of Texas Press. All rights reserved. Guatemala-U.S. Migration, Front cover photo: Illustration by Jack Unruh. From The Devil’s Backbone by Bill Wittliff. university of texas press Jonas & Rodríguez..............65 Catalog design by Simon Renwick books for the trade Photo from Bronx Boys by Stephen Shames | film and media studies | Rights: UT Press and the Harry Ransom Center control all Permissions: some image permissions needed More than 600 rarely seen items from the David O. Sel- znick archive—including on-set photographs, storyboards, correspondence and fan mail, production records, audi- tion footage, restored costumes, and Selznick’s infamous memos—offer fans and film historians alike a must-have behind-the-camera view of the production of this classic movie on its seventy-fifth anniversary Harry Ransom Center The Making of Gone With The Wind BY STEVE WILSON Foreword by Robert Osborne Gone With The Wind is one of the most popular movies of all time. To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his busi- ness partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic. Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear fa- vorite for Scarlett O’Hara. And then there was the huge challenge of turning Marga- ret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. The Making of Gone With The Wind tells these and other surprising stories with fascinating items from the Selznick archive, including 6 UNIVERSITY OF TEXAS PRESS | FALL 2014 UNIVERSITY OF TEXAS PRESS | FALL 2014 7 on-set photographs, storyboards, correspondence and fan mail, pro- duction records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos. This inside view of the decisions and creative choices that shaped the production reaffirm that Gone With The Wind is perhaps the quintessential film of Hollywood’s Golden Age and illustrate why it remains influential and controversial decades after it was released. STEVE WILSON Copublished with the Austin, Texas Harry Ransom Center at the University of Texas Wilson is the curator of the film col- (FACING, TOP LEFT) Fanny Elsing: “. tearing from her at Austin curls the seed pearl ornaments set in heavy gold . .” lection at the Harry Ransom Center (p. 185). (FACING, TOP MIDDLE) Aunt Pittypat’s mourning dress: at the University of Texas at Austin. “Stout, pink cheeked and silver haired . too tightly release date | september laced stays . too small slippers” . (p. 156). He has curated several exhibitions 11 x 11 inches, 352 pages, 628 color (FACING, TOP RIGHT) Design for an unidentified at the Ransom Center, including character. and b&w illustrations (FACING, BOTTOM LEFT) Gerald O’Hara: “A small man . heavy of barrel and thick of neck . short sturdy Shooting Stars, a display of Hol- legs . finest leather boots . sixty years old . crisp curly hair, silver white . hard little blue eyes . lywood glamour photography, and ISBN 978-0-292-76126-1 cravat which had slipped awry” (p. 29). (FACING, BOTTOM MIDDLE) India Wilkes: “Could be Making Movies, a major exhibition $50.00 | £33.00 | C$62.50 described by no other word than plain” (p. 96). “Hair untidy . pale hair and eye lashes . jutting chin” on film production. hardcover (p. 97). (FACING, BOTTOM RIGHT) One of several designs for Mammy. (ABOVE) Suellen’s dress for the prayer scene. (RIGHT) The burgundy ball gown Scarlett O’Hara wore to Ashley’s birthday party. Top: Costume sketches and a gown worn by Vivien Leigh. Bottom: Screen test of Hattie McDaniel. Production storyboards for the Burning of Atlanta scene. 8 UNIVERSITY OF TEXAS PRESS | FALL 2014 UNIVERSITY OF TEXAS PRESS | FALL 2014 9 | photography | Aaron Siskind Aaron Siskind INTRODUCTION BY GILLES MORA TEXT BY CHARLES TRAUB Rights: Editions Hazan controls all The first true retrospective of a towering figure in Ameri- can photography and the only book on Aaron Siskind currently in print, this volume features important, rarely published work and an authoritative text by noted photo historian Gilles Mora Aaron Siskind (1903–1991) was a major figure in the history of American photography. A leading documentary photographer who was active in the New York Photo League in the 1930s, Siskind moved beyond the social realism of his early work as he increasingly came to view photography as a visual language of signs, metaphors, and symbols—the equivalent of poetry and music. Through the forties and fifties, he developed new techniques to photograph details and frag- ments of ordinary, commonplace materials. This radical new work transformed Siskind’s image-making from straight photography to abstraction, from documentation to expressive art. His concern with shape, line, gesture, and the picture plane prompted immediate