1963 was a pivotal year in the history of avant-garde film in the United States. In Visionary Film, P. Adams Sitney calls it “the high point of the mythopoeic development within the American avant-garde.” He explains:
[Stan] Brakhage had finished and was exhibiting the first two sections of Dog Star Man by then; Jack Smith was still exhibiting the year-old Flaming Creatures; [Kenneth Anger‘s] Scorpio Rising appeared almost simultaneously with [Gregory Markopoulos‘s] Twice a Man. The shift from an interest in dreams and the erotic quest for the self to mythopoeia, and a wider interest in the collective unconscious occurred in the films of a number of major and independent artists.
(An inclusive list of American avant-garde films made/released in 1963 can be found here.)
On Christmas Day of 1963 began the weeklong third edition of Exprmntl, a competition of worldwide avant-garde films held in Knokke-le-Zoute, Belgium. The two previous Exprmntl competitions took place in 1949 and 1958. Exprmntl...
[Stan] Brakhage had finished and was exhibiting the first two sections of Dog Star Man by then; Jack Smith was still exhibiting the year-old Flaming Creatures; [Kenneth Anger‘s] Scorpio Rising appeared almost simultaneously with [Gregory Markopoulos‘s] Twice a Man. The shift from an interest in dreams and the erotic quest for the self to mythopoeia, and a wider interest in the collective unconscious occurred in the films of a number of major and independent artists.
(An inclusive list of American avant-garde films made/released in 1963 can be found here.)
On Christmas Day of 1963 began the weeklong third edition of Exprmntl, a competition of worldwide avant-garde films held in Knokke-le-Zoute, Belgium. The two previous Exprmntl competitions took place in 1949 and 1958. Exprmntl...
- 10/1/2017
- by Mike Everleth
- Underground Film Journal
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
Above: Reading of the Oberhausen Manifeso before the West German press.
In 1962, twenty-six West German filmmakers—including writers, directors, producers, and an actor—declared the Oberhausen Manifesto at the 8th Oberhausen Short Film Festival. To celebrate the 50th anniversary of the manifesto, the festival organized the retrospective “Provoking Reality: Mavericks, Mouvements, and Manifestos,” in which they screened nearly forty short films by the manifesto’s signatories. (Earlier this year, Daniel Kasman wrote about several of the retrospective's shorts in his report from the festival, "Manifestations".) This week, the Museum of Modern Art will also screen a selection of them from September 27th through the 30th. Out of these new films, a Junger Deutscher Film (Young German Film) emerged to counter the established film industry and the conventional German entertainment of the 1950s.
Above: The 8th Oberhausen Short Film Festival.
After the Allies defeated Germany in World War II and subsequently partitioned the country,...
In 1962, twenty-six West German filmmakers—including writers, directors, producers, and an actor—declared the Oberhausen Manifesto at the 8th Oberhausen Short Film Festival. To celebrate the 50th anniversary of the manifesto, the festival organized the retrospective “Provoking Reality: Mavericks, Mouvements, and Manifestos,” in which they screened nearly forty short films by the manifesto’s signatories. (Earlier this year, Daniel Kasman wrote about several of the retrospective's shorts in his report from the festival, "Manifestations".) This week, the Museum of Modern Art will also screen a selection of them from September 27th through the 30th. Out of these new films, a Junger Deutscher Film (Young German Film) emerged to counter the established film industry and the conventional German entertainment of the 1950s.
Above: The 8th Oberhausen Short Film Festival.
After the Allies defeated Germany in World War II and subsequently partitioned the country,...
- 9/26/2012
- MUBI
Above: Das Magische Band.
For the 50th anniversary of the signing of the Oberhausen Manifesto, the International Short Film Festival Oberhausen seems to have deployed an expected reminder and canonization: a retrospective. But the reality is far from this conventionality. Instead, the festival has activated a series, sequence and near-simultaneity of films programmed by Ralph Eue and Olaf Möller called Mavericks, Mouvements, Manifestos that form a complex, varied and nuanced international constellation of absolutely necessary, engaged and reactive short films from the 1950s-1960s. It is not a look back, as most retrospectives inevitably are, but a bracing engagement with a reality, both historic and contemporary, that proves to be still absolutely crucial to our understanding of the world and its cinema.
The opening ceremony of the festival capped an endless series of introductions—which included an unexpected but moving reminder of and plea about the economic ghettoization of cultural...
For the 50th anniversary of the signing of the Oberhausen Manifesto, the International Short Film Festival Oberhausen seems to have deployed an expected reminder and canonization: a retrospective. But the reality is far from this conventionality. Instead, the festival has activated a series, sequence and near-simultaneity of films programmed by Ralph Eue and Olaf Möller called Mavericks, Mouvements, Manifestos that form a complex, varied and nuanced international constellation of absolutely necessary, engaged and reactive short films from the 1950s-1960s. It is not a look back, as most retrospectives inevitably are, but a bracing engagement with a reality, both historic and contemporary, that proves to be still absolutely crucial to our understanding of the world and its cinema.
The opening ceremony of the festival capped an endless series of introductions—which included an unexpected but moving reminder of and plea about the economic ghettoization of cultural...
- 5/9/2012
- MUBI
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