Underground Film: A Critical History by Parker Tyler

By Parker Tyler

My test at three hundred dpi, bookmarked and OCR'd, 20 pp. of b/w pictures integrated on the end

back disguise quote: Parker Tyler (1904-1974), one of many few nice American movie critics, was once intimate with and significantly revered by way of the various underground and experimental filmmakers of his time. during this e-book, Tyler evaluated the Underground commonly and the seminal motion pictures particularly, overlaying the heritage and scope of the style with perception and verve. Like Tyler's Screening the Sexes: Homosexuality within the videos (also to be had from Da Capo Press), Underground movie is among the masterpieces of cinema literature.

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Markopoulos, though he had been working before the advent of men like Warhol and Ron Rice, had to wait until seven other filmmakers had been honored before receiving that award in 1967. Analyzing to what degree the achievements of the Underground Film are artistic and to what degree otherwise is an unavoidably complex subject, if only because art as such has nothing to do with the reigning Establishment procedures. 34 underground climb: from exhibitionism to art The main strength of the Underground Film per se (not simply as a variety of avant-garde film) is currently to use the camera as the self-sufficient reporter of vital activity.

The very fact that a movie was being used to embellish a theatrical performance was then a calculated impertinence. The means of Entr'acte in several instances were pointed enough. One was a ballerina, a reference to the ballet being performed, photographed from directly underneath: evidently she danced on a floor of glass under which the camera was directly stationed, so that one had a glimpse of her rather inelegant panties. Naturally, frequenters of the ballet know that in the lifts the most intimate parts of a ballerina's body, 17 underground film while closely sheathed, become visible.

25 underground film and his governing board could do nothing but assent (with a formal expostulation) to Brakhage's withdrawal. It was not many months before the old group spirit prevailed in the rebel's bosom. After all, he had reason to be grateful because, ever since the sixties began, Mekas' magazine, Film Culture, had been the chief publicity medium for Brakhage and other Underground filmmakers. In 1962 Brakhage had received the magazine's annual Independent Film Award and the organization had issued a large monograph devoted to his writing and his films.

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