James Mottram traces the roots of this generation of American film-makers to Steven Soderbergh's 'Sex, Lies and Videotape' and looks at how many kickstarted their careers and made their mark at Robert Redford's Sundance Institute in Utah or at his film festival.

He gained renown as the sidekick of Butch Cassidy, but the Sundance Kid—whose real name was Harry Alonzo Longabaugh—led a fuller life than history or Hollywood has allowed. A relative of Longabaugh through marriage, Donna B. Ernst has spent more than a quarter century researching his life. She now brings to print the most thorough account ever of one of the West’s most infamous outlaws, tracing his life from his childhood in Pennsylvania to his involvement with the Wild Bunch and, in 1908, to his reputed death by gunshot in Bolivia. Combining genealogical research, access to family records, and explorations in historical archives, Ernst details the Sundance Kid’s movements to paint a complete picture of the man. She recounts his homesteading days in Colorado, offers new information on his years as a cowboy in Wyoming and Canada, and cites newly uncovered records that substantiate both his outlaw activities and his attempts at self-reform. While taking readers on the wild chase that became Longabaugh’s life, outracing posses and Pinkertons, Ernst corrects inaccuracies in the historical record. She demonstrates that he could not have participated in the Belle Fourche bank heist or the Tipton train robbery and refutes speculations that Butch and Sundance managed to escape their fate in Bolivia. The Sundance Kid is enlivened by more than three dozen photographs, including family photos never before seen.

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The Old West was coming to an end. Two legendary outlaws refused to go with it. As leaders of the Wild Bunch, Butch Cassidy and the Sundance Kid executed the most daring bank and train robberies of their day. For several years at the end of the 1890s, the two friends, along with a revolving band of thieves, eluded law enforcement while stealing from the rich bankers and Eastern railroad corporations who exploited Western land…until they rode headlong into the twentieth century. In The Last Outlaws, Thom Hatch brings these memorable characters to life like never before. From their early holdup attempts to that fateful day in Bolivia, Hatch draws on a wealth of fresh research to go beyond the myth and provide a compelling new look at these legends of the Wild West. Includes Photographs

In this “dishy…superbly reported” (Entertainment Weekly) New York Times bestseller, Peter Biskind chronicles the rise of independent filmmakers who reinvented Hollywood—most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax Films an indie powerhouse. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind “takes on the movie industry of the 1990s and again gets the story” (The New York Times). Biskind charts in fascinating detail the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul, who created an Oscar factory that became the envy of the studios, while leaving a trail of carnage in his wake. He follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, controversial, and “sensationally entertaining” (Los Angeles Times) Down and Dirty Pictures is a must-read for anyone interested in the film world.

LIFE Magazine presents Butch Cassidy and the Sundance Kid at 50.

Who was Butch Cassidy? He was born Robert LeRoy Parker in 1866 in Utah. And, as everyone knows, after years of operating with a sometime gang of outlaws known as the Wild Bunch, he and the Sundance Kid escaped to South America, only to die in a 1908 shootout with a Bolivian cavalry troop. But did he die? Some say that he didn’t die in Bolivia, but returned to live out a quiet life in Spokane, Washington where he died peacefully in 1937. In interviews with the author, scores of his friends and relatives and their descendants in Wyoming, Utah, and Washington concurred, claiming that Butch Cassidy had returned from Bolivia and lived out the remainder of his life in Spokane under the alias William T. Phillips. In 1934 William T. Phillips wrote an unpublished manuscript, an (auto) biography of Butch Cassidy, “The Bandit Invincible, the Story of Butch Cassidy.” Larry Pointer, marshalling an overwhelming amount of evidence, is convinced that William T. Phillips and Butch Cassidy were the same man. The details of his life, though not ending spectacularly in a Bolivian shootout, are more fascinating than the until-now accepted version of the outlaw’s life. There was a shootout with the Bolivian cavalry, but, according to Butch (Phillips), he was able to escape under the cover of darkness, sadly leaving behind his longtime friend, the Sundance Kid, dead. Then came Paris, a minor bit of facelifting, Michigan, marriage, Arizona, Mexico with perhaps a tour as a sharpshooter for Pancho Villa, Alaska, and at last the life of a businessman in Spokane. In between there were some quiet return trips to visit old friends and haunts in Wyoming and Utah. The author, with the invaluable help of Cassidy’s autobiography, has pieced together the full and final story of a remarkable outlaw—from his Utah Mormon origins, through his escapades of banditry and his escape to South America, to his self-rehabilitation as William T. Phillips, a productive and respected member of society.

Beautiful, elusive, and refined, Etta Place captivated the nation at the turn of the last century as she dodged the law with the Wild Bunch, led by Butch Cassidy and the Sundance Kid. Her true identity and fate have remained a mystery that has tantalized historians for decades. Now, for the first time, Gerald Kolpan envisions this remarkable woman’s life in a stunning debut novel. Kolpan imagines that Etta Place was born Lorinda Jameson, the daughter of a prominent financier, who becomes known as the loveliest of the city’s debutantes when she makes her entrance into Philadelphia society. Though her position in life is already assured, her true calling is on horseback. She can ride as well as any man and handle a rifle even better. But when a tragedy leads to a dramatic reversal of fortune, Lorinda is left orphaned, penniless, homeless, and pursued by the ruthless Black Hand mafia. Rechristened “Etta Place” to ensure her safety, the young woman travels to the farthest reaches of civilization, working as a “Harvey Girl” waitress in Grand Junction, Colorado. There, fate intervenes once more and she again finds herself on the run from the ruthless Pinkerton Detective Agency. But this time she has company. She soon finds herself at the legendary hideout at Hole-in-the-Wall, Wyoming, where she meets the charismatic Butch Cassidy and the handsome, troubled Harry Longbaugh, a.k.a. the Sundance Kid. Through a series of holdups and heists, Etta and Harry begin an epic and ultimately tragic romance, which will be the greatest of Etta’s life. Then, when Etta meets the young and idealistic Eleanor Roosevelt, her life is changed forever. Blending a compelling love story, high adventure, and thrilling historical drama, Etta is an electrifying novel. With a sweeping 1900s setting, colorful storytelling, and larger-than-life characters, Etta is debut that is both captivating and unforgettable.

How do we determine authorship in film, and what happens when we look in-depth at the creative activity of living filmmakers rather than approach their work through the abstract prism of auteur theory? Mark Gallagher uses Steven Soderbergh’s career as a lens through which to re-view screen authorship and offer a new model that acknowledges the fundamentally collaborative nature of authorial work and its circulation. Working in film, television, and digital video, Soderbergh is the most prolific and protean filmmaker in contemporary American cinema. At the same time, his activity typifies contemporary screen industry practice, in which production entities, distribution platforms, and creative labor increasingly cross-pollinate. Gallagher investigates Soderbergh’s work on such films as The Limey, Erin Brockovich, Ocean’s Eleven and its sequels, Solaris, The Good German, Che, and The Informant!, as well as on the K Street television series. Dispensing with classical auteurist models, he positions Soderbergh and authorship in terms of collaborative production, location filming activity, dealmaking and distribution, textual representation, genre and adaptation work, critical reception, and other industrial and cultural phenomena. Gallagher also addresses Soderbergh’s role as standard-bearer for U.S. independent cinema following 1989’s sex, lies and videotape, as well as his cinephilic dialogues with different forms of U.S. and international cinema from the 1920s through the 1970s. Including an extensive new interview with the filmmaker, Another Steven Soderbergh Experience demonstrates how industries and institutions cultivate, recognize, and challenge creative screen artists.