Reading Response 5

J. Hoberman, Jonathan Rosenbaum, The Underground

1. What were some of the venues associated with the early underground film movement in New York City? What were some of the unique characteristics of the Charles Theater and its programming?

In the case of Vanderbeek he showed it at storefronts around the East Village, American Underground Cinema, the Living Theater, and also the Charles. The Charles Exhibited local artwork, Jazz music and Ukrainian- language double bills.It showed films like Touch of Evil and Kubrick’s first indie feature.

2. Which filmmakers did Jonas Mekas associate with the “Baudelairean Cinema”? Why did Mekas use that term, and what were the distinguishing characteristics of the films?
Jack Smith, Ron Rice, Ken Jacobs, and Ken Jacobs . He meant that the films were modern day expansions to cinema as contributors had been to other forms of art such as poetry and literature.

3. Why did underground films run into legal trouble in New York City in 1964? What film encountered legal problems in Los Angeles almost on the same day as Mekas’s second arrest in New York City?
The censorship board, through licensing, was cracking down on public screenings of material considered “obscene.” This led to conflict with underground movement that unlike cinema 16 did not create a “private venue” by means of membership or any other way. Mike Getz was having problems from showing Scorpio Rising on March 7 at the Cinema Theater. He was found guilty of breaking obscenity laws. In fact still to our time presently the FCC follows that obscenity in any form they choose , is not covered by the first amendment.

4. What were some of the defining characteristics of Andy Warhol’s collaboration with Ronald Tavel? What were some of the unique characteristics of Vinyl? How does Edie Sedgewick end up "stealing" the scene in Vinyl?

Warhol’s laissez faire attitude toward actors and camera was the principal style that comes across in the films. The multiple layers of action each one changing function and importance in vying for the audience’s attention. This all done with only a couple of cuts to change reels, and to reframe once. Edie’s stealing of the show was in my opinion because of both her consistancy in place and action, and her unmolded and real responses to situations and actions in the scene. It didn’t hurt that she looked good and was the only female in the production. She was put in at the last min. by Andy.

5. In what ways did the underground film begin to "crossover" into the mainstream in 1965-1966? What films and venues were associated with the crossover? How were the films received by the mainstream New York press?

It was being noticed and recognized by the “mainstream” culture, from the Saturday Evening Post to Playboy and even the Museum of modern art. Scorpio Rising, Inaugerations of the Pleasure Dome, and My Hustler all led to the culmination of The Chelsea Girls. While Newsweek hailed it, Crowther at the New York Times hissed its taking over outside Greenwich Village.

6. Why was Mike Getz an important figure in the crossover of the underground?
His ability to give more distribution to films that are untouchable by mainstream businesses allowed them to become financially successful. This thus allowed more to be made and distributed and so on. Getting these films into 22 cities for showings broadened its reach and its audience.


7. How do Hoberman and Rosenbaum characterize Warhol’s post-1967 films?
They (Warhol and Morrissey) were quick to produce nudity-filled features. This thus paved the way for films such as I Am Curious (Yellow), and Deepthroat, films that go down in infamy and history more for the situation surrounding them than the works themselves.