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"This comprehensive, insightful study demonstrates that 1960s New York underground film fused 'artistic innovation and the exploration of everyday life' and distinctively interacted with mass culture.'" -- Choice "... thoroughly researched [and] engaging text... " -- Library Journal "This is a very timely and welcome book.... intervenes very effectively to to rewrite the history of the 1960s American underground cinema." -- UTS Review At the confluence of experimental art and the gay subculture of early 1960s New York, Juan Suárez discovers a postmodern, gay-influenced aesthetic that "recycles" popular culture. Filmmakers Kenneth Anger, Jack Smith, and Andy Warhol epitomize this sensibility, combining the influences of European avant-garde movements, comic books, rock 'n' roll, camp, film cults, drag performances, fashion, and urban street cultures.

Here is a critical and historical overview of unconventional and aesthetically challenging films, all of feature length. The author focuses on the particular forms of contemporary avant-garde films, which often rely on characteristics associated with historical films of the same genre. Included are works by such visionary filmmakers as David Lynch, Luis Bunuel, Jean Cocteau, Jean-Luc Godard, Guy Maddin and Derek Jarman. The first of the two appendices contains a filmography of key avant-garde feature films, from Haxan: Witchcraft Through the Ages (1922) to Maximum Shame (2010). The second appe.

Avant-Garde Film: Forms, Themes and Passions examines the variety of concerns and practices that have comprised the long history of avant-garde film at a level appropriate for undergraduate study. It covers the developments of experimental film-making since the modernist explosion in the 1920s in Europe through to the Soviet film experiments, the American Underground cinema and the French New Wave, structuralism and contemporary gallery work of the young British artists. Through in-depth case-studies, the book introduces students not only to the history of the avant-garde but also to varied analytical approaches to the films themselves - ranging from abstraction (Richter, Ruttmann) to surreal visions (Bunuel, Wyn Evans), underground subversion (Jack Smith, Warhol) to experimental narrative (Deren and Antonioni).

The complete guide to c& an anthology of the best writing on its history and current theory in cultural studies and lesbian and gay studies

Sex Scene suggests that what we have come to understand as the sexual revolution of the late 1960s and early 1970s was actually a media revolution. In lively essays, the contributors examine a range of mass media—film and television, recorded sound, and publishing—that provide evidence of the circulation of sex in the public sphere, from the mainstream to the fringe. They discuss art films such as I am Curious (Yellow), mainstream movies including Midnight Cowboy, sexploitation films such as Mantis in Lace, the emergence of erotic film festivals and of gay pornography, the use of multimedia in sex education, and the sexual innuendo of The Love Boat. Scholars of cultural studies, history, and media studies, the contributors bring shared concerns to their diverse topics. They highlight the increasingly fluid divide between public and private, the rise of consumer and therapeutic cultures, and the relationship between identity politics and individual rights. The provocative surveys and case studies in this nuanced cultural history reframe the "sexual revolution" as the mass sexualization of our mediated world. Contributors. Joseph Lam Duong, Jeffrey Escoffier, Kevin M. Flanagan, Elena Gorfinkel, Raymond J. Haberski Jr., Joan Hawkins, Kevin Heffernan, Eithne Johnson, Arthur Knight, Elana Levine, Christie Milliken, Eric Schaefer, Jeffrey Sconce, Jacob Smith, Leigh Ann Wheeler, Linda Williams

Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Understanding the artistic bounty of modernist tensions over everyday life

Georg Simmels "Soziologie" (1908) hat auf die Begrifflichkeit und auf die Methoden des Faches in Deutschland sowie im Ausland tief gewirkt. In diesem Buch, das Simmel fünfzehn Jahre Arbeit abverlangt hat, verbindet sich in der Analyse des Gegenstandes die Konstruktion des soziologischen Blicks mit dessen praktischer Anwendung. Was aber bleibt 100 Jahre später von der "Soziologie"? Wie wird sie von den unterschiedlichen Spezialisten der Sozial- und Geisteswissenschaften wahrgenommen? Diese Fragen haben die Herausgeber Geistes- und Gesellschaftswissenschaftlern in unterschiedlichen Ländern gestellt, um zu erfahren, wie sie Simmels "Soziologie" in ihre Arbeit und ihre tägliche Forschungspraxis einbeziehen. Wegen ihrer Konstruktion und ihrer thematischen Vielfalt erweist sich die Soziologie oft als unvollendetes Werk. Die Autoren in diesem Band tragen dieser Unabgeschlossenheit Rechnung, indem auch sie dem Leser keine fertigen Analysen und Konstruktionen, sondern Einblicke in laufende Arbeiten auf verschiedenen Ebenen des gesellschaftlichen Lebens bieten. Damit zeigen sie, wie fruchtbar die "Soziologie" für die zeitgenössischen Untersuchungen der Kultur und der Gesellschaft bleibt, und bieten gleichzeitig eine Einführung in die großen Themen der Disziplin an.

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