In December 1966, the Canyon Cinema Cooperative in San Francisco, California published their first Catalogue of experimental and avant-garde films to rent. This was four years after the Film-Makers’ Cooperative had begun distributing underground films in New York City.
Canyon first listed films to rent in the November ’66 edition of their News newsletter, then published the catalog separately one month later. In the book Canyon Cinema, Scott MacDonald notes that the News listed just 31 filmmakers with films. Only six of them had multiple films listed; while the rest listed just a single film each.
The first standalone catalogue expanded on that first listing of filmmakers, but is still a modest publication at just sixteen pages, plus the covers. The catalogue includes 45 filmmakers — some are listed as pairs — and many more filmmakers have multiple films listed. For example, Larry Jordan has eight films listed, Robert Nelson six and Bruce Baillie four.
There...
Canyon first listed films to rent in the November ’66 edition of their News newsletter, then published the catalog separately one month later. In the book Canyon Cinema, Scott MacDonald notes that the News listed just 31 filmmakers with films. Only six of them had multiple films listed; while the rest listed just a single film each.
The first standalone catalogue expanded on that first listing of filmmakers, but is still a modest publication at just sixteen pages, plus the covers. The catalogue includes 45 filmmakers — some are listed as pairs — and many more filmmakers have multiple films listed. For example, Larry Jordan has eight films listed, Robert Nelson six and Bruce Baillie four.
There...
- 5/6/2018
- by Mike Everleth
- Underground Film Journal
Turn Turn Turn by Jud Yalkut (1965-1966)
Jud Yalkut’s main contribution to the 1960s underground film scene was his cinematic documentation of multi-media installations and performance art “happenings.” One of his earliest contributions to this field was Turn Turn Turn, completed in either 1965 or 1966.
In 1965, Yalkut had joined the multimedia collective Usco, which the book Rock ‘N’ Film by David E. James describes as a group influenced by Marshal McLuhan, Buckminster Fuller and Meher Baba that created installations “designed to expand human consciousness to states of mystical awareness.” The name Usco is a shortening of the phrase “Company of Us” or “Us Company.”
According to the first Canyon Cinema Cooperative catalog, issued in December 1966, Yalkut describes Turn Turn Turn:
Sound by Usco
A kinetic alchemy of the light and electronic works of Nicholas Schoffer, Julio Le Parc, Usco, and Nam June Paik. An experiment in McLuhan’s “the medium...
Jud Yalkut’s main contribution to the 1960s underground film scene was his cinematic documentation of multi-media installations and performance art “happenings.” One of his earliest contributions to this field was Turn Turn Turn, completed in either 1965 or 1966.
In 1965, Yalkut had joined the multimedia collective Usco, which the book Rock ‘N’ Film by David E. James describes as a group influenced by Marshal McLuhan, Buckminster Fuller and Meher Baba that created installations “designed to expand human consciousness to states of mystical awareness.” The name Usco is a shortening of the phrase “Company of Us” or “Us Company.”
According to the first Canyon Cinema Cooperative catalog, issued in December 1966, Yalkut describes Turn Turn Turn:
Sound by Usco
A kinetic alchemy of the light and electronic works of Nicholas Schoffer, Julio Le Parc, Usco, and Nam June Paik. An experiment in McLuhan’s “the medium...
- 4/28/2018
- by Mike Everleth
- Underground Film Journal
The Oscars can have its annual celebrity luncheon. This week, several documentarians celebrated the Cinema Eye Honors with an after-hours field trip to the Whitney Museum of American Art.
Conceived in 2008 as a bid to broaden awareness for documentary achievements, the Cinema Eyes highlight a dozen categories that range from best director to best cinematography to graphic design. However, while it began as a tonic to the five-nominee limitations that circumscribe the Oscars, the Cinema Eyes have evolved into an idiosyncratic celebration all its own. Although the awards are Wednesday night at the Museum of the Moving Image in New York, the ceremony is now only the culmination of a full week of programming that includes three days of activities.
“It’s kind of like senior skip week,” said co-founder and filmmaker Aj Schnack, catching his breath on Monday night before delivering a speech to the filmmakers in attendance. “Yes,...
Conceived in 2008 as a bid to broaden awareness for documentary achievements, the Cinema Eyes highlight a dozen categories that range from best director to best cinematography to graphic design. However, while it began as a tonic to the five-nominee limitations that circumscribe the Oscars, the Cinema Eyes have evolved into an idiosyncratic celebration all its own. Although the awards are Wednesday night at the Museum of the Moving Image in New York, the ceremony is now only the culmination of a full week of programming that includes three days of activities.
“It’s kind of like senior skip week,” said co-founder and filmmaker Aj Schnack, catching his breath on Monday night before delivering a speech to the filmmakers in attendance. “Yes,...
- 1/11/2017
- by Eric Kohn
- Indiewire
First things first. There's an announcement from last week to catch up with: "Aldo Tambellini's Black Films and pioneering experimental works by four other filmmakers — Ian Hugo, the international banker-turned-artist who worked with Anaïs Nin; Mike Kuchar; Gregory Markopoulos; and Jud Yalkut — will soon be saved through the 2012 Avant-Garde Masters Grants from the National Film Preservation Foundation and The Film Foundation." Martin Scorsese, who began the initiative in 2003 through seed money from The Film Foundation: "There's no other program of its kind. I'm thrilled that the work of such artists as George Kuchar, Shirley Clark, and Kenneth Anger has been preserved and — equally important — made available so audiences can actually see these extraordinary films."
On a somewhat related note, Marilyn Ferdinand has put out a call regarding For the Love of Film: The Film Preservation Blogathon, taking place in just a couple of weeks now: "Bloggers, we need to...
On a somewhat related note, Marilyn Ferdinand has put out a call regarding For the Love of Film: The Film Preservation Blogathon, taking place in just a couple of weeks now: "Bloggers, we need to...
- 4/23/2012
- MUBI
The National Film Preservation Foundation and The Film Foundation have awarded their annual Avant-Garde Masters Grants for 2012. The overall grant award, which equals $50,000, will help restore and preserve an impressive selection of classic experimental and avant-garde films from the 1950s and ’60s by five legendary underground filmmakers: Mike Kuchar, Gregory Markopoulos, Ian Hugo, Aldo Tambellini and Jud Yalkut.
This year’s grant award will be split among five different archivist organizations, each one working on a different filmmaker’s work.
Three filmmakers will have one film each preserved: The Temenos will be preserving Cycle VII of Gregory J. Markopoulos’ epic 22-cycle film Eniaios; Anthology Film Archives will be preserving one of Mike Kuchar‘s more obscure works, Green Desire (1965); and the Trisha Brown Dance Company will be preserving Jud Yalkut’s Planes (1968), which features choreography by Trisha Brown.
Meanwhile, the Library of Congress has been awarded the opportunity to preserve...
This year’s grant award will be split among five different archivist organizations, each one working on a different filmmaker’s work.
Three filmmakers will have one film each preserved: The Temenos will be preserving Cycle VII of Gregory J. Markopoulos’ epic 22-cycle film Eniaios; Anthology Film Archives will be preserving one of Mike Kuchar‘s more obscure works, Green Desire (1965); and the Trisha Brown Dance Company will be preserving Jud Yalkut’s Planes (1968), which features choreography by Trisha Brown.
Meanwhile, the Library of Congress has been awarded the opportunity to preserve...
- 4/18/2012
- by Mike Everleth
- Underground Film Journal
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