Celine Danhier with Joel Coen and Ethan Coen at the table behind us at The Odeon on the evolution of Blank City: "James Nares said 'Let me call Jim Jarmusch.' It was really like that. And then at the same time I had the music scenes and I interviewed Pat Place." Photo: Anne-Katrin Titze
Celine Danhier's all-hands-on-deck Blank City, edited to perfection by Vanessa Roworth, enters the world of the No Wave and Cinema of Transgression. We see and hear about the work of Bette Gordon, Casandra Stark Mele, Charlie Ahearn, Michael Oblowitz, Nick Zedd, Sara Driver, Susan Seidelman, Maripol, Patti Astor, Eric Mitchell, Beth B, Vivienne Dick, Vincent Gallo, John Lurie, Steve Buscemi, Jean-Michel Basquiat, Lizzie Borden, Amos Poe, John Waters, James Nares, Jim Jarmusch, Anders Grafstrom, Richard Kern, Ann Magnuson, James Chance, Lydia Lunch, Pat Place, Becky Johnston, Adele Bertei, Scott B, Tommy Turner, Tessa Hughes-Freeland, Kemra Pfahler,...
Celine Danhier's all-hands-on-deck Blank City, edited to perfection by Vanessa Roworth, enters the world of the No Wave and Cinema of Transgression. We see and hear about the work of Bette Gordon, Casandra Stark Mele, Charlie Ahearn, Michael Oblowitz, Nick Zedd, Sara Driver, Susan Seidelman, Maripol, Patti Astor, Eric Mitchell, Beth B, Vivienne Dick, Vincent Gallo, John Lurie, Steve Buscemi, Jean-Michel Basquiat, Lizzie Borden, Amos Poe, John Waters, James Nares, Jim Jarmusch, Anders Grafstrom, Richard Kern, Ann Magnuson, James Chance, Lydia Lunch, Pat Place, Becky Johnston, Adele Bertei, Scott B, Tommy Turner, Tessa Hughes-Freeland, Kemra Pfahler,...
- 4/24/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The National Film Preservation Foundation has announced their annual Avant-Garde Masters Grants winners — their list of organizations that have been awarded funds to preserve classic and important avant-garde, experimental and underground films.
This year, five organizations — Anthology Film Archives, Bard College, New York University, the UCLA Film & Television Archive and the Wisconsin Center for Film and Theater Research — have been awarded grants to preserve 10 films made by five different filmmakers.
The films include several made by significant figures in the ’60s underground film movement, such as Globe (1971) by Ken Jacobs and two by Shirley Clarke, Butterfly (1967) and 24 Frames Per Second (1977). Also from the ’60s is a rare film by artist Ed Ruscha, who is primarily known for his painting and photography, but did make some films, such as the to-be-preserved The Books of Ed Ruscha (ca. 1969).
Several more modern films will be preserved, such as four by pop culture remixer...
This year, five organizations — Anthology Film Archives, Bard College, New York University, the UCLA Film & Television Archive and the Wisconsin Center for Film and Theater Research — have been awarded grants to preserve 10 films made by five different filmmakers.
The films include several made by significant figures in the ’60s underground film movement, such as Globe (1971) by Ken Jacobs and two by Shirley Clarke, Butterfly (1967) and 24 Frames Per Second (1977). Also from the ’60s is a rare film by artist Ed Ruscha, who is primarily known for his painting and photography, but did make some films, such as the to-be-preserved The Books of Ed Ruscha (ca. 1969).
Several more modern films will be preserved, such as four by pop culture remixer...
- 10/16/2014
- by Mike Everleth
- Underground Film Journal
Embedded above is the first music video ever produced for the legendary art rock band Sonic Youth, “Death Valley 69,” the eighth and final track on their 1985 album Bad Moon Rising. This is also the first music video that was co-directed by Richard Kern, one of the leading figures of the Cinema of Transgression movement. The song and the video are a perfect time capsule blend of audio and images from the raging punk scene coming out of NYC’s Lower East Side in the ’80s.
According to Jack Sargeant‘s definitive history of the Cinema of Transgression, Deathtripping, Judith Barry was originally hired to direct the video with Kern only hired to do the gore makeup special effects. However, Kern would end up co-directing along with Barry. (The video’s on-screen credits, listed in full below, also credit Sonic Youth as a co-director.)
The final video ends up being...
According to Jack Sargeant‘s definitive history of the Cinema of Transgression, Deathtripping, Judith Barry was originally hired to direct the video with Kern only hired to do the gore makeup special effects. However, Kern would end up co-directing along with Barry. (The video’s on-screen credits, listed in full below, also credit Sonic Youth as a co-director.)
The final video ends up being...
- 9/28/2012
- by Mike Everleth
- Underground Film Journal
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