Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSSian Heder's Coda took home the Best Picture award at the 94th Academy Awards, Ryusuke Hamaguchi's Drive My Car took Best International Feature, and Jane Campion won Best Director for The Power of the Dog. Find more of this year's Oscars winners here. We're saddened by the loss of Japanese filmmaker Shinji Aoyama, who recently died at the age of 57. Most revered for his 2000 film Eureka, about a trio who embark on a road trip after surviving a bus hijacking, Aoyama continued his humanist exploration of violence, family, and generation gaps in films like Desert Moon (2001) and Sad Vacation (2007), the loose sequel to Eureka. He was also a prolific novelist and critic, with his novelization of Eureka awarded the Yukio Mishima prize in 2001. Il Cinema Ritrovato has announced the programs of this year's festivities,...
- 3/30/2022
- MUBI
Fred Mogubgub is primarily known for his television advertising work, but he also made underground short films that combined animation, illustration and live action, such as The Pop Show (1966).
Mogubgub’s name does not appear in most — if any — texts discussing avant-garde and experimental film made in the late ’60s and early ’70s, even though the Underground Film Journal has found that his work was included in “underground” screenings in 1970.
A night of Mogubgub’s films was included in the 1970 New York Underground Film Festival that screened at Max’s Kansas City on October 12-19. Mogubgub’s films screened on the 14th and it’s fairly likely that The Pop Show was included in the event, but cannot be verified. Mogubgub passed away in 1989.
Most notable about The Pop Show is the appearance of Gloria Steinem, who appears in the film uncredited.
Mogubgub is possibly most famous for a mural...
Mogubgub’s name does not appear in most — if any — texts discussing avant-garde and experimental film made in the late ’60s and early ’70s, even though the Underground Film Journal has found that his work was included in “underground” screenings in 1970.
A night of Mogubgub’s films was included in the 1970 New York Underground Film Festival that screened at Max’s Kansas City on October 12-19. Mogubgub’s films screened on the 14th and it’s fairly likely that The Pop Show was included in the event, but cannot be verified. Mogubgub passed away in 1989.
Most notable about The Pop Show is the appearance of Gloria Steinem, who appears in the film uncredited.
Mogubgub is possibly most famous for a mural...
- 1/21/2019
- by Mike Everleth
- Underground Film Journal
In the Summer 1961 edition of Film Quarterly, Stan Vanderbeek was the first person to refer to experimental filmmaking as the “underground.” A filmmaker himself, Vanderbeek was frustrated that his work and the films of his peers — such as Stan Brakhage, Hilary Harris, Robert Breer and Robert Frank — was not being considered as serious art by the broader cinematic culture.
Eventually, the term “underground film” would become part of the regular movie vernacular, but was it adopted slowly or quickly after its first appearance in 1961?
Jonas Mekas‘s “Movie Journal” column in the Village Voice was the main organ promoting experimental and avant-garde cinema in the early 1960s. A survey of the column from that time period has shown that Mekas did not use the term “underground film” very frequently.
At approximately the same time of the Film Quarterly issue, Mekas devoted a column on May 4, 1961 to three filmmakers. Mekas began the column with:
Stan Vanderbeek,...
Eventually, the term “underground film” would become part of the regular movie vernacular, but was it adopted slowly or quickly after its first appearance in 1961?
Jonas Mekas‘s “Movie Journal” column in the Village Voice was the main organ promoting experimental and avant-garde cinema in the early 1960s. A survey of the column from that time period has shown that Mekas did not use the term “underground film” very frequently.
At approximately the same time of the Film Quarterly issue, Mekas devoted a column on May 4, 1961 to three filmmakers. Mekas began the column with:
Stan Vanderbeek,...
- 10/14/2018
- by Mike Everleth
- Underground Film Journal
In the late 1950s and early 1960s, Stan Vanderbeek was one of the most prolific filmmakers of the experimental film scene, churning out primarily collage films featuring original footage cut up with found imagery.
At the same time, he was also a prodigious film theorist, producing articles on film theory in much the same way he made his films — by combining original writing with text and images created by others. One of Vanderbeek’s most famous articles is “The Cinema Delimina” published in the Summer 1961 edition of Film Quarterly (vol. Xiv no. 4), in which he is the first person to use the term “underground” to refer to what was then mostly referred to as “experimental cinema.”
To be clear, though, Vanderbeek actually did not use the exact term “underground film.”
The gist of the article appears to be Vanderbeek arguing that experimental films should be considered as something better than...
At the same time, he was also a prodigious film theorist, producing articles on film theory in much the same way he made his films — by combining original writing with text and images created by others. One of Vanderbeek’s most famous articles is “The Cinema Delimina” published in the Summer 1961 edition of Film Quarterly (vol. Xiv no. 4), in which he is the first person to use the term “underground” to refer to what was then mostly referred to as “experimental cinema.”
To be clear, though, Vanderbeek actually did not use the exact term “underground film.”
The gist of the article appears to be Vanderbeek arguing that experimental films should be considered as something better than...
- 9/30/2018
- by Mike Everleth
- Underground Film Journal
In 1993, after not being accepted into any major film festival of the time, such as Sundance, filmmaker Todd Phillips personally toured the U.S. and Europe with his first documentary film, Hated: Gg Allin & The Murder Junkies. Following this experience, Phillips partnered up with fellow filmmaker Andrew Gurland to launch several initiatives to help small, challenging and often controversial films connect with audiences.
One of those initiatives was the first ever New York Underground Film and Video Festival, which was held at the Anthology Film Archives in New York City on March 18-20, 1994.
The term “underground film” was first used to describe the experimental film scene in 1961 by filmmaker and film theorist Stan Vanderbeek. Using “underground film” to describe the avant-garde cinema remained popular throughout the ’60s, then lost popularity in the ’70s as terms like “structural film” came into existence. “Underground film” ultimately regained some of its mojo...
One of those initiatives was the first ever New York Underground Film and Video Festival, which was held at the Anthology Film Archives in New York City on March 18-20, 1994.
The term “underground film” was first used to describe the experimental film scene in 1961 by filmmaker and film theorist Stan Vanderbeek. Using “underground film” to describe the avant-garde cinema remained popular throughout the ’60s, then lost popularity in the ’70s as terms like “structural film” came into existence. “Underground film” ultimately regained some of its mojo...
- 2/18/2018
- by Mike Everleth
- Underground Film Journal
This is Part Two in a series about Chicago’s Experimental Film Coalition; and covers their screening series. You can read Part One here.
Formed in 1983, the Experimental Film Coalition started holding regular monthly screenings starting in 1984. The screenings brought to Chicago the work of independent, experimental filmmakers across the country, as well as screening local work.
Screenings were held at the Randolph Street Gallery, an alternative performance and exhibition space located at 756 N. Milwaukee Ave. The Gallery eventually closed down in 1998 and donated their archives to the School of the Art Institute of Chicago; which exhibits some of the Coalition’s flyers on their website.
Below is a sample of screening information culled from those archives, listed in chronological order:
1984
March 23
2 Razor Blades, dir. Paul Sharits
Make Me Psychic, dir. Sally Cruikshank
Unsere Afrikareise, dir. Peter Kubelka
Roslyn Romance, dir. Bruce Baillie
Musical Poster #1, dir. Len Lye
April 27
Rainbow Dance,...
Formed in 1983, the Experimental Film Coalition started holding regular monthly screenings starting in 1984. The screenings brought to Chicago the work of independent, experimental filmmakers across the country, as well as screening local work.
Screenings were held at the Randolph Street Gallery, an alternative performance and exhibition space located at 756 N. Milwaukee Ave. The Gallery eventually closed down in 1998 and donated their archives to the School of the Art Institute of Chicago; which exhibits some of the Coalition’s flyers on their website.
Below is a sample of screening information culled from those archives, listed in chronological order:
1984
March 23
2 Razor Blades, dir. Paul Sharits
Make Me Psychic, dir. Sally Cruikshank
Unsere Afrikareise, dir. Peter Kubelka
Roslyn Romance, dir. Bruce Baillie
Musical Poster #1, dir. Len Lye
April 27
Rainbow Dance,...
- 12/17/2017
- by Mike Everleth
- Underground Film Journal
Breathdeath by Stan Vanderbeek (1963).
At the Exprmntl 3 film competition at Knokke-le-Zoute, Belgium in 1963, Breathdeath tied for 2nd place with Gregory Markopoulos‘s Twice a Man. Both men took home $2,000 in prize money.
In An Introduction to the American Underground Film, Sheldon Renan classifies Breathdeath as a “protest film,” which was a minority of underground film genre at the time. Renan also describes Breathdeath as a “collage of film technique” and considers it Vanderbeek’s best film. Throughout the book, Renan gives different completion years, both 1963-64 and just 1964. Although, in the film’s on-screen text, Vanderbeek gave the film a 1963 copyright. (See below.) (Stephen Dwoskin’s Film Is also gives Breathdeath a completion year of 1964; as does the film’s listing on the Film-makers’ Coop website.)
According to a document published in Scott MacDonald’s Canyon Cinema, in 1970, Breathdeath was one of five films acquired by the Australian National Library’s study collection.
At the Exprmntl 3 film competition at Knokke-le-Zoute, Belgium in 1963, Breathdeath tied for 2nd place with Gregory Markopoulos‘s Twice a Man. Both men took home $2,000 in prize money.
In An Introduction to the American Underground Film, Sheldon Renan classifies Breathdeath as a “protest film,” which was a minority of underground film genre at the time. Renan also describes Breathdeath as a “collage of film technique” and considers it Vanderbeek’s best film. Throughout the book, Renan gives different completion years, both 1963-64 and just 1964. Although, in the film’s on-screen text, Vanderbeek gave the film a 1963 copyright. (See below.) (Stephen Dwoskin’s Film Is also gives Breathdeath a completion year of 1964; as does the film’s listing on the Film-makers’ Coop website.)
According to a document published in Scott MacDonald’s Canyon Cinema, in 1970, Breathdeath was one of five films acquired by the Australian National Library’s study collection.
- 10/8/2017
- by Mike Everleth
- Underground Film Journal
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
The Ann Arbor Film Festival celebrates its epic 53rd annual edition on March 24-29 with a colossal selection of experimental short films and features.
Feature film highlights include the documentary Speculation Nation by regular collaborators Bill Brown and Sabine Gruffat, which examines the recent Spanish housing crisis; a new ethnographic doc by Ben Russell, Greetings to the Ancestors, which plunges deep into the culture of South Africa; and Jenni Olson’s grand California study The Royal Road.
Short film highlights include the much anticipated new film by Jennifer Reeder, Blood Below the Skin, a narrative following a week in the dramatic and romantic lives of three teenage girls; a new music video by Mike Olenick called Beautiful Things with music by The Wet Things; new animations by Don Hertzfeldt, World of Tomorrow, and Lewis Klahr, Mars Garden; plus new experimental work by Vanessa Renwick, Peggy Ahwesh and Zachary Epcar.
Special...
Feature film highlights include the documentary Speculation Nation by regular collaborators Bill Brown and Sabine Gruffat, which examines the recent Spanish housing crisis; a new ethnographic doc by Ben Russell, Greetings to the Ancestors, which plunges deep into the culture of South Africa; and Jenni Olson’s grand California study The Royal Road.
Short film highlights include the much anticipated new film by Jennifer Reeder, Blood Below the Skin, a narrative following a week in the dramatic and romantic lives of three teenage girls; a new music video by Mike Olenick called Beautiful Things with music by The Wet Things; new animations by Don Hertzfeldt, World of Tomorrow, and Lewis Klahr, Mars Garden; plus new experimental work by Vanessa Renwick, Peggy Ahwesh and Zachary Epcar.
Special...
- 3/24/2015
- by Mike Everleth
- Underground Film Journal
From The Pocono Record, The Stroudsburgs, Pa. – Sat., Feb. 5, 1966. Article Excerpt:
Film Can Borrow From All Arts
By Charlotte Roberts
Pocono Record Reporter
Stroudsburg – As an art form, film is unique in its capacity for incorporating elements from other art forms.
To projected photography have been added the dimensions of motion, sound, graphic art, drama, and frequently music and dance.
“Underground” film makers have begun to realize further dimensions which can be projected on film. Some film artists paint and scratch designs directly on film to evolve a new kind of moving art.
One journalist has noted three directions in the experiments of contemporary film makers. He writes that they are all forms of departure from the narrative or dramatic form “which has dominated the major body of cinema since the early 1900s:
“That of the realists who pursue an unvarnished view of life; and in contrast the work of...
Film Can Borrow From All Arts
By Charlotte Roberts
Pocono Record Reporter
Stroudsburg – As an art form, film is unique in its capacity for incorporating elements from other art forms.
To projected photography have been added the dimensions of motion, sound, graphic art, drama, and frequently music and dance.
“Underground” film makers have begun to realize further dimensions which can be projected on film. Some film artists paint and scratch designs directly on film to evolve a new kind of moving art.
One journalist has noted three directions in the experiments of contemporary film makers. He writes that they are all forms of departure from the narrative or dramatic form “which has dominated the major body of cinema since the early 1900s:
“That of the realists who pursue an unvarnished view of life; and in contrast the work of...
- 10/8/2013
- by Mike Everleth
- Underground Film Journal
This Week’s Must Read: Pfft, forget the Sight & Sound polls — Hey, they never ask for my opinion! — the One+One Filmmaking Journal has compiled a great list of 10 films they love and which you must see, none of which we can really argue with. The list includes films by George Kuchar, Jeff Keen, Derek Jarman, Shuji Terayama and, of course, several more — including one film we ourselves saw and loved just recently, the bat-shit crazy Hausu by Nobuhiko Obayashi.If you want some awesome Sunday experimental film browsing, then a great stop is the Mono No Aware filmmaking workshop films!If you live in Toronto, or want to live there, the Images Festival is looking to hire a programmer for next year’s festival.Film Journal International reviews Pip Chodorov’s Free Radicals: A History of Experimental Film, which has been screening at the Anthology Film Archives. The review asks the question,...
- 8/5/2012
- by Mike Everleth
- Underground Film Journal
Brief batch this week, but some really great reads!
This week’s Must Read is a sad one: The obituary for filmmaker and author Stephen Dwoskin that ran in the Guardian UK. He was born in NYC in 1948, began making films in the early ’60s whereupon he moved to England and helped co-found the London Film-makers’ Co-operative. He also wrote the influential book Film Is…, which was published in 1975, and made films pretty much up until the very end.Meant to put this up last week, but it’s still relevant: The blog We Love Perth interviewed Jack Sargeant about his job programming the Revelation Perth International Film Festival, which just wrapped up this year. Jack is one of those rare creatures who’s as great an interview subject as he is an actual interviewer himself.This link isn’t really about underground film, but I figure you’re a...
This week’s Must Read is a sad one: The obituary for filmmaker and author Stephen Dwoskin that ran in the Guardian UK. He was born in NYC in 1948, began making films in the early ’60s whereupon he moved to England and helped co-found the London Film-makers’ Co-operative. He also wrote the influential book Film Is…, which was published in 1975, and made films pretty much up until the very end.Meant to put this up last week, but it’s still relevant: The blog We Love Perth interviewed Jack Sargeant about his job programming the Revelation Perth International Film Festival, which just wrapped up this year. Jack is one of those rare creatures who’s as great an interview subject as he is an actual interviewer himself.This link isn’t really about underground film, but I figure you’re a...
- 7/15/2012
- by Mike Everleth
- Underground Film Journal
This American artist's photographs of spindly assemblages, destitute factories and dancers from her hometown seem frozen in time and elusive like memories
Sara VanDerBeek's photos capture things that weren't meant to last. She first made her mark as an artist a few years ago, building spindly assemblages strung with images from art books or magazines as well as beads, twigs and feathers. Once she'd captured the precarious little sculptures with her camera, she broke them up again. Her airy constructions may recall Alexander Calder's mobiles, but they were also inspired by the makeshift roadside memorials that dotted New York in the wake of 9/11. Photographed in her studio against a dark backdrop, her images seem like memories, floating through our heads.
These early works create a surreal art-history pick'n'mix, from illustrations of classical sculpture to old black-and-white photography, and similar forms are echoed from work to work. VanDerBeek's instinct for...
Sara VanDerBeek's photos capture things that weren't meant to last. She first made her mark as an artist a few years ago, building spindly assemblages strung with images from art books or magazines as well as beads, twigs and feathers. Once she'd captured the precarious little sculptures with her camera, she broke them up again. Her airy constructions may recall Alexander Calder's mobiles, but they were also inspired by the makeshift roadside memorials that dotted New York in the wake of 9/11. Photographed in her studio against a dark backdrop, her images seem like memories, floating through our heads.
These early works create a surreal art-history pick'n'mix, from illustrations of classical sculpture to old black-and-white photography, and similar forms are echoed from work to work. VanDerBeek's instinct for...
- 6/7/2012
- by Skye Sherwin
- The Guardian - Film News
With a title like Low Budget Hell: Making Movies With John Waters, this memoir by Robert Maier is going to appeal instantly to fans of the iconic cult movie director. However, Maier’s book also goes way beyond just working with Waters and is an absolute must read for anybody interested in the making of independent movies, from the makers themselves to the people who just love watching them.
Clearly, though, the main selling point is Maier’s unabashed recollections of making films with Waters, all the way from Female Trouble to Cry-Baby. For a long time, the two young filmmakers were very close friends. So, Maier is able to paint a portrait of Waters that fans of his always knew existed, but that he would never divulge himself.
Waters has always been extremely crafty in creating his public persona of the quirky, outsider oddball. However, one only has to...
Clearly, though, the main selling point is Maier’s unabashed recollections of making films with Waters, all the way from Female Trouble to Cry-Baby. For a long time, the two young filmmakers were very close friends. So, Maier is able to paint a portrait of Waters that fans of his always knew existed, but that he would never divulge himself.
Waters has always been extremely crafty in creating his public persona of the quirky, outsider oddball. However, one only has to...
- 1/25/2012
- by Mike Everleth
- Underground Film Journal
I presume this article is from a ways back, but I only stumbled upon it yesterday: Jonathan Rosenbaum reprinted his reflections on the Edinburgh Film Festival from 1976. It’s a very long, in-depth piece, but if you want the hot, underground film content, scroll down to Rosenbaum describing a screening of Tom Tom the Piper’s Son causing a near riot and a review of Yvonne Rainer’s Film About a Woman Who….The L.A. Times has a lengthy piece on the ambitious “Alternative Projections” screening series on the avant-garde that just launched in Los Angeles.Mike Plante presents his fourth Cinemad podcast, this time chatting with the elusive James Fotopoulos. (And I mean that in terms of his work, not in terms of getting him on the phone for a chat.)I don’t know much about the Experimental Media and Performing Arts Center (Empac), but donna k.
- 10/16/2011
- by Mike Everleth
- Underground Film Journal
This week’s Must Read: The Brooklyn Rail offers up a eulogy for Adolfas Mekas by gathering comments from the likes of P. Adams Sitney, Peggy Ahwesh, Ken Jacobs and other colleagues/contemporaries. Mekas passed away in May.The Guardian got a rare interview with Jean-Luc Godard who has declared that we are all auteurs now. Good.If you hadn’t heard, structural film pioneer Owen Land passed away last month, but news of his passing only came late last week. I think Lux has the best, most detailed obit for him. Although, the Office Baroque Gallery has a very passionate one — and I think initial word of Land’s death came from them.More Land: Making Light of It posts a scan of an interview with him conducted by P. Adams Sitney from Film Culture. (I actually happen to own two issues of Film Culture, one of which includes this great interview.
- 7/17/2011
- by Mike Everleth
- Underground Film Journal
Plastic Paper is Winnipeg’s celebration of animation, illustration and puppet films, organized by the Big Smash! filmmaking collective. Their second annual event will be held on May 4-8 at the Park Theatre.
The big score for this year’s edition is a special screening of Ralph Bakshi’s 1981 feature-length musical opus American Pop with the filmmaker in attendance for a post-screening Q&A. For this groundbreaking work, Bakshi utilized the innovative technique of mixing rotoscoping, water colors, computer graphics, live action shots, and archival footage. This screening and discussion will be a real treat for animation junkies.
But that’s not to say that the rest of the festival isn’t also filled with other amazing films.
Because, speaking of groundbreaking work, the fest kicks off with Brent Green’s simply astounding film Gravity Was Everywhere Back Then, the first full-length film utilizing real-life actors in amazing stop-motion animation.
The big score for this year’s edition is a special screening of Ralph Bakshi’s 1981 feature-length musical opus American Pop with the filmmaker in attendance for a post-screening Q&A. For this groundbreaking work, Bakshi utilized the innovative technique of mixing rotoscoping, water colors, computer graphics, live action shots, and archival footage. This screening and discussion will be a real treat for animation junkies.
But that’s not to say that the rest of the festival isn’t also filled with other amazing films.
Because, speaking of groundbreaking work, the fest kicks off with Brent Green’s simply astounding film Gravity Was Everywhere Back Then, the first full-length film utilizing real-life actors in amazing stop-motion animation.
- 4/30/2011
- by Mike Everleth
- Underground Film Journal
These first two links to the website Cineflyer I had on the site earlier in the week, but I want to make sure they get read. One is an interview with film curator Brett Cashmere about his new series investigating Canada’s little-known Escarpment School movement. And the other is an interview with Escarpment School member Philip Hoffman. And, by the way, Bad Lit’s Screening section has all kinds of interesting information, so please check out those posts even if you don’t live in the city in which those Screenings take place. Searching for “underground film” articles every week sometimes brings up interesting results in ways I don’t typically think of the term. Anyway, doing so this week led me to this piece on Donna Magazine about the “green movement of Iran” being celebrated at the 10th International Diaspora Film Festival. Jack Sargeant reprints his nifty profile...
- 11/7/2010
- by Mike Everleth
- Underground Film Journal
I usually link to Making Light of It in these posts — when Jacob’s not disappearing on me — but I really want to make sure people look at Jacob’s most recent article, so I’m listing him first this week. Jacob’s scanned a bunch of covers of old Film Culture magazines that are really sweet looking. I don’t recognize everybody’s picture, but I see Stan Vanderbeek, Harry Smith, Robert Breer and more. And, I think Jacob has the second only photo ever of Ron Rice on the Internet, after mine. Fangoria conducted a fascinating interview with one of Bad Lit’s favorite people, C.W. Prather of the Spooky Movie Festival, which is currently going on. Funniest thing I saw this week — hell, funniest thing I’ve seen in months! — was the Twitter stream of Ted Nope, a parody of indie film producer Ted Hope’s airless Twitter musings.
- 10/24/2010
- by Mike Everleth
- Underground Film Journal
So, I’ve been doing these links posts for awhile now and it’s been very encouraging that they’re some of the most viewed articles on the site every week. However, even more exciting and inspiring is that I’ve had several bloggers/writers contact me lately to tell me that my linking to them provides a bit of a bump in readers for them. It really makes me happy that my readers are actually clicking through and reading these fantastic articles on other people’s websites. I mean, obviously that’s the whole point of this project, but I didn’t know the actual result until recently. It’s nice to hear. That said, on with the show:
This week’s Must Read is an oldie, but a goodie. And by “oldie” I mean almost 50 years old. It’s Stan Vanderbeek’s 1961 manifesto “The Cinema Delimina” (careful: that...
This week’s Must Read is an oldie, but a goodie. And by “oldie” I mean almost 50 years old. It’s Stan Vanderbeek’s 1961 manifesto “The Cinema Delimina” (careful: that...
- 9/26/2010
- by Mike Everleth
- Underground Film Journal
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