In 1997, the Chicago Underground Film Festival held its fourth annual edition on August 13-17 at the Theatre Building at 1225 W. Belmont Avenue. One way the festival promoted itself that year was it published a four-page pull-out section in the Chicago-based political magazine Lumpen, vol. 6 no. 4.
These pages included the entire festival schedule, which the Underground Film Journal has re-created below. In addition, scans of the original Lumpen pages appear at the bottom of this article. This program schedule did not include director names for the most part, but the Journal has included names that we could find through research.
In the Theatre Building, Cuff screened on two screens simultaneously. One theater screened films shot exclusively on film; while the other theater screened films shot exclusively on video. In addition, a Closing Night event of director John Waters‘ live performance piece “Shock Value” took place in the film theater and was simulcast into the video theater.
These pages included the entire festival schedule, which the Underground Film Journal has re-created below. In addition, scans of the original Lumpen pages appear at the bottom of this article. This program schedule did not include director names for the most part, but the Journal has included names that we could find through research.
In the Theatre Building, Cuff screened on two screens simultaneously. One theater screened films shot exclusively on film; while the other theater screened films shot exclusively on video. In addition, a Closing Night event of director John Waters‘ live performance piece “Shock Value” took place in the film theater and was simulcast into the video theater.
- 12/10/2018
- by Mike Everleth
- Underground Film Journal
Article by Aaron AuBuchon
Television means one of two things these days: episodic, long form (usually cable) dramas- the high water mark of narrative motion media storytelling, and on the other end, the nadir, are so-called ‘reality’ shows. We are bombarded by advertisements for shows about former celebrities doing strange things, people who desperately want to be celebrities, and normal people doing insane things for money. It gets nauseating sometimes, and we like to think of this as being indicative of some new shortcoming in the moral or intellectual fabric of our times, as though the mere presence of these things points to a reduction in the cultural ideal of our society. A common misconception about these shows is that they’re a relatively new phenomenon and that they have originated out of virtual air over the last decade or so. While this may be true of television, moviegoers have...
Television means one of two things these days: episodic, long form (usually cable) dramas- the high water mark of narrative motion media storytelling, and on the other end, the nadir, are so-called ‘reality’ shows. We are bombarded by advertisements for shows about former celebrities doing strange things, people who desperately want to be celebrities, and normal people doing insane things for money. It gets nauseating sometimes, and we like to think of this as being indicative of some new shortcoming in the moral or intellectual fabric of our times, as though the mere presence of these things points to a reduction in the cultural ideal of our society. A common misconception about these shows is that they’re a relatively new phenomenon and that they have originated out of virtual air over the last decade or so. While this may be true of television, moviegoers have...
- 7/10/2012
- by Movie Geeks
- WeAreMovieGeeks.com
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