Konstantin Nikolaevič Leont'ev
"Radical Emma Goldman famously demanded 'fun' as a precondition of revolution (the nerve!), and Bl associate editor Andrew Grossman agrees," writes editor Gary Morris, introducing the new issue of Bright Lights Film Journal. "Leading off the Articles section, he collates the 'polka tremblante' (aka Bohemian polka) with strolls through Byzantine ascetic philosopher Leontev, Nosferatu, and Carl Sandburg in a magical riff. Equally dazzling is Dave Saunders's paean to the Connectitrons via Hugo, The Big Clock, and Jeanne La Pucelle (Parts 1 and 2)."
Also in Issue 75: "Every trip must end, and our 'empty guest room' is unusually full this time. Jack Stevenson, who knows all things underground, offers thoughtful tributes to two talents associated with, among other things, the Kuchars: Marion Eaton, star of Thundercrack!, and Bob Cowan, who appeared in various Kuchar efforts. These are the kinds of rare histories that would not be written but for Jack,...
"Radical Emma Goldman famously demanded 'fun' as a precondition of revolution (the nerve!), and Bl associate editor Andrew Grossman agrees," writes editor Gary Morris, introducing the new issue of Bright Lights Film Journal. "Leading off the Articles section, he collates the 'polka tremblante' (aka Bohemian polka) with strolls through Byzantine ascetic philosopher Leontev, Nosferatu, and Carl Sandburg in a magical riff. Equally dazzling is Dave Saunders's paean to the Connectitrons via Hugo, The Big Clock, and Jeanne La Pucelle (Parts 1 and 2)."
Also in Issue 75: "Every trip must end, and our 'empty guest room' is unusually full this time. Jack Stevenson, who knows all things underground, offers thoughtful tributes to two talents associated with, among other things, the Kuchars: Marion Eaton, star of Thundercrack!, and Bob Cowan, who appeared in various Kuchar efforts. These are the kinds of rare histories that would not be written but for Jack,...
- 2/15/2012
- MUBI
Above is a video intro George Kuchar made for a retrospective of his films in Los Angeles in 2008. The video does show off George’s offbeat humor, calling the piece “The Man Behind the Film” and then hiding his face behind the image of a filmstrip.
George Kuchar has, of course, been making underground films since the early 1950s. He began his career working with his twin brother Mike, making campy, but loving, spoofs of Hollywood melodramas when the two were teenagers growing up in NYC.
Eventually, the brothers went in their own directions and George moved to the West Coast to become a film professor at the San Francisco Art Institute. At the school, George began collaborating with his students to direct no-budget, largely improvised films. Outside the classroom, he would obsessively videotape events in his life, including the trips he would take regularly to the midwest to witness tornadoes and other weather phenomenon.
George Kuchar has, of course, been making underground films since the early 1950s. He began his career working with his twin brother Mike, making campy, but loving, spoofs of Hollywood melodramas when the two were teenagers growing up in NYC.
Eventually, the brothers went in their own directions and George moved to the West Coast to become a film professor at the San Francisco Art Institute. At the school, George began collaborating with his students to direct no-budget, largely improvised films. Outside the classroom, he would obsessively videotape events in his life, including the trips he would take regularly to the midwest to witness tornadoes and other weather phenomenon.
- 8/5/2011
- by Mike Everleth
- Underground Film Journal
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