Trixi (1971).“When I first saw Steve’s films, I actually very often had to leave the cinema,” Laura Mulvey once recalled. Dwoskin’s shorts and early features, shown in alternative venues around London in the late 1960s and early ’70s, tended to show a woman alone in a room, often naked, responding to the camera, sometimes seducing it: Alone (1964), Soliloquy (1964/7), Take Me (1969), Moment (1969), and Girl (1971)... At the time she saw them, Mulvey was working on what became her famous essay “Visual Pleasure and Narrative Cinema,” published in 1975. Having been repelled at first, she began to find that Dwoskin’s films “opened a completely new perspective for me on cinematic voyeurism.” The first draft included a section discussing them, particularly the half-hour Trixi (1971), an “overtly ‘voyeuristic’ film” in which the seduction is consummated. In Mulvey’s words, Dwoskin’s handheld camera facilitated his “intimate involvement as an equal participant in the erotic drama,...
- 6/16/2022
- MUBI
Chuck Smith at The Bowery Hotel on Barbara Rubin: "I think Walt Disney fascinated her all the time and fairy tales." Photo: Anne-Katrin Titze
Through interviews with Jonas Mekas, Amy Taubin, Gordon Ball, Richard Foreman, J Hoberman, Ara Osterweil, Rosebud Feliu-Pettet, Debra Feiner Coddington, and illustrated by film clips, and photographs, Chuck Smith is in search of answering questions such as, who is Barbara Rubin and why haven't you heard about her?
Chuck Smith on Barbara Rubin friend Amy Taubin, seen here with Richard Gere and Oren Moverman: "She's in Michael Snow's Wavelength, the legendary experimental film." Photo: Anne-Katrin Titze
Barbara Rubin And The Exploding NY Underground, with an original score by Lee Ranaldo, resurrects the filmmaker and instigator to take her place as a vital interconnected thread for the likes of Andy Warhol, the Velvet Underground, Lou Reed, Allen Ginsberg, Bob Dylan, Federico Fellini, Lenny Bruce, and many others.
Through interviews with Jonas Mekas, Amy Taubin, Gordon Ball, Richard Foreman, J Hoberman, Ara Osterweil, Rosebud Feliu-Pettet, Debra Feiner Coddington, and illustrated by film clips, and photographs, Chuck Smith is in search of answering questions such as, who is Barbara Rubin and why haven't you heard about her?
Chuck Smith on Barbara Rubin friend Amy Taubin, seen here with Richard Gere and Oren Moverman: "She's in Michael Snow's Wavelength, the legendary experimental film." Photo: Anne-Katrin Titze
Barbara Rubin And The Exploding NY Underground, with an original score by Lee Ranaldo, resurrects the filmmaker and instigator to take her place as a vital interconnected thread for the likes of Andy Warhol, the Velvet Underground, Lou Reed, Allen Ginsberg, Bob Dylan, Federico Fellini, Lenny Bruce, and many others.
- 5/19/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The New York Underground Film Festival that the avant-garde, experimental and degenerate film world is familiar with began in 1994 and lasted until it’s 15th edition in 2008.
However, the Underground Film Journal has recently uncovered that there was a previous New York Underground Film Festival — in 1970! This event is totally unconnected to the ’90-’00s era festival and featured a weeklong series of screenings in mid-October of that year, from October 12 to 19.
The festival was held “upstairs” at the notorious art world hangout spot Max’s Kansas City, located at 213 Park Avenue South. Most nights featured screenings of work by a singular filmmaker; while Saturday, Oct. 17 had a “Matinee” of Shorts” by several filmmakers.
Beyond the list of filmmakers who screened work, there is very little information about the 1970 Nyuff. Most of what the Journal knows about the festival comes from participant Anton Perich, who shared with us the promotional poster that you see above.
However, the Underground Film Journal has recently uncovered that there was a previous New York Underground Film Festival — in 1970! This event is totally unconnected to the ’90-’00s era festival and featured a weeklong series of screenings in mid-October of that year, from October 12 to 19.
The festival was held “upstairs” at the notorious art world hangout spot Max’s Kansas City, located at 213 Park Avenue South. Most nights featured screenings of work by a singular filmmaker; while Saturday, Oct. 17 had a “Matinee” of Shorts” by several filmmakers.
Beyond the list of filmmakers who screened work, there is very little information about the 1970 Nyuff. Most of what the Journal knows about the festival comes from participant Anton Perich, who shared with us the promotional poster that you see above.
- 7/15/2018
- by Mike Everleth
- Underground Film Journal
In a letter dated June 1, 1962, the newly formed Film-Makers’ Cooperative offered their first list of films that were available to rent. Fourteen filmmakers were represented.
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
- 4/1/2018
- by Mike Everleth
- Underground Film Journal
Darcy Lapier was a stunner who turned heads as a Hawaiian Tropic model. She is also a great example of personal reinvention (and still a stunner), now the subject of E!'s True Hollywood Story airing October 7. Lapier first married her boss, Hawaiian Tropic honcho Ron Rice. Then she caught the eye of Belgian action-star Jean-Claude Van Damme, with whom she had a son, Nicholas. Her third marriage to Herbalife founder Mark Hughes, who died suddenly at age 44, ended less than a year after their nuptials. Today, Lapier, a mother of three, has transformed herself into an award-winning professional rodeo barrel racer in her home state of Oregon. You'll be seeing more of the intrepid athlete whose...
- 10/7/2009
- by April MacIntyre
- Monsters and Critics
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.