CinemaTexas

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UT Competition

The Bettye Nowlin Awards for Excellence in Student Filmmaking

"Frog in the Well" (Dir. David Martinez)

"Home Movie" (Dir. Gerrie McCall)

"Arrhythmia" (Dir. Jeremy Fleishman, Jonathan Thornhill, Toto Miranda)

"Pillowfight" (Dir. Scott Rice)

No-Budget

"Bio Clock," by Leslie Sisson

Editing Award (tie)

"Minutemen," by Mark Jones

"Esprit de Corps," by John Brooks

Cinematography

"Super Doll," by Julia Halperin, cinematographer Rebecca Ratner

Screenplay Award

"Sunday Dinner," written and directed by Joe Ambrosavage

Acting Award

Craig Kline, "Pillowfight" (Dir. Scott Rice)

Honorable Jury Mentions

"100% Cotton," by PJ Raval for screenwriting

"What They Found," by Toto Miranda for animation

To the ensemble cast of kids (Whitney Edwards, Dorian Ruder, and Andrianna Salazar) for acting in "Balloon Fish," dir. Mark Miller

"My Saba," by Ariel Santschi for distinction in videography

"Out of Water," by Sean Gallagher, for artistic merit

The Juan Ochoa Memorial "Comunity Action in Art" Award

"The Demilitarized Zone," by Susan Shin-hee Park

Jury Citation for Outstanding Artistic Collaboration to Katherine Gibson and Jessica Barst, for "Kaleid," "Yolk," and "Blink."

Managing Director's Pick

"Goodbye, Sweet Machine," by Dee Austin Robertson

Programming Director's Pick

"Car Hunter," by Ryan Grace

Artistic Director's Pick

"Records," by René Peñaloza-Galvan

Audience Award

"The Quiet Between," by Mel Cowan

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International Competition

Gecko Awards

"My Country," by Goran Radonavovic

"Nest of Tens," by Miranda July

"Strangers," by Kathrin Resetarits

"Anything for the Ladies," by Ingvil Ginske

No-Budget

"Home," by Luther Price

Cinematography Award

"Darling International," by Jennifer Reeves and M. M. Serra

Honorable Jury Mentions

"Sincerely Joe P. Bear," by Matt McCormick

"Sleeping Car," by Monique Moumblow

"Sisters," by Pawel Lozinsky

"Arise! Walk Dog, Eat Donut," by Ken Kobland

Swiss Effects Image Transform Award

"The Zapruder Footage: An Investigation of Consensual Hallucination," by Keith Sanborn

Artistic Director's Awards for Poets of Cinema

"Two Boys," by Jason Livingston

"Blood Orange Sky," by Jem Cohen

Managing Director's Pick

"Panzano," by Rosa Barba and Ulrike Molsen

Programming Director's "Nothing-Else-Like-It" Award

"It happened in the bullpen," by Aaron Wickenden

Festival Directors' "CinemaTexas Spirit" Awards

"The Moschops," by Jim Trainor

"Drink Me," by Lisa Barnstone

"Rejected," by Don Hertzfeld

Audience Award

"In the cycling park," Masaki Hosokawa

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Photos from the Festival

TOP: The line for Jim Jarmusch: Love & Sprockets began two and a half hours before the event and snaked through the building from the West Mall entrance to the Union Theater, where the legendary indie filmmaker introduced some of his favorite short films -- including Buster Keaton's "The High Sign," as well as "Film," the collaboration between Keaton and absurdist playwright Samuel Beckett.

MIDDLE: Craig Baldwin screened two of his own films -- Sonic Outlaws and Spectres of the Spectrum -- in addition to Press Play to Agitate, a "video salon" of news pranks and suggestions for media redistribution. Baldwin also hosted "Parallax View," which featured corporate and Net activists like the Bureau of Inverse Technology and ®TMark.

BOTTOM: As part of the Public Genitals Project, Elana Logsdon wears a laptop displaying photos of genitals, updated according to how often the words "sex" and "violence" appear on the Web pages of CNN, MSNBC, and CBS. Designed by Sandy Stone (based on a concept by Rich MacKinnon) and the ACTLab Convergent Media Project at UT, the PGP was conceived "to playfully question the boundaries between inside and outside, revealed and hidden, representation and reality." Stone reports the project received hundreds of downloaded genital photos from across the globe -- including photos of pet genitals: "We used them too. It added yet another dimension to the project." Due to myriad technical glitches, the PGP was able to reach "full tilt boogie" only once, but the result was worth it. Explains Stone: "Elana Logsdon's insouciant, sexually ambiguous presentation as the model added a dimension to the audience's reaction that I hadn't anticipated. Not only did they respond to the images, they also spent some time sorting Elana out."