The Underground - |ˌəndərˈground|

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?

The Living Theater was a popular experimental film venue in which cinema 16 programed many of their films. The Thalia, The New Yorker, and Bleecker Street Cinema were other East side theaters that offered experimental viewings. The charles was a 700 seat theater which played an array of shows including musicals as well as Hollywood features. The lobby served as an art gallery of local artists as well as concert hall for jazz musicians.

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?

Mekas used this term to describe the work of Ron Rice, Jack Smith, and Ken Jacobs. This experimental filmmakers made sexual explicit almost absurdist experimental films often using eachother as actors often using improvisation. MEkas called the “Baudelairean Cinema” "A world of flowers of evil, of illuminations, of torn and tortured flesh, a poetry which is at once beautiful and terrible, good and evil, delicate and dirty" in the Village Voice.

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?

All films had to registered under the City of New York and follow a code of ethics. Many of these underground film wouldn't pass this code, therefore Mekas never attempted to get any kinda of legal license because he didn't believe in the principals of this legal system. Kenneth Anger's Scorpio Rising ran into similar problem all the way across the coast in Los Angeles.

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?

Vinyl was an adaptation the A Clockwork Orange written by Tavel. He only wanted to show the bear essentials of the plot. The film was shot with a single camera set up much like any other aery 1960's Warhol film. Edie Sedgewich wasn't even written into the film, and even showed up after shooting had already begun. Travel says "the camera just went berserk looking at those eyes… The film became like one of those vehicles for a famous star." Technically Edie stole the movie by just being there.

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?

In 1965 Warhol shot My Hustler, a feature length film that featured multiple locations, 70 minutes of dialogue, a camera pan, and a cut. In mid Jan of 66's MY hustler started to catch on outside of the underground world. The Cinematheque was the first venue to show this film in a large venue in february or 66. Not only were larger cround going to see underground films, but almost every magazine in the country was taking note of underground films. Othere theaters associated with this crossover were the Bridge, and the Gate.

6. Why was Mike Getz an important figure in the crossover of the underground?

Getz packaged underground film blocks and sent them to cities around the country with his uncles traveling theater. The films reach Cleveland, Dallas, New Orleans, San Diego, and San Francisco just to name a few. "[Getz] was responsible for introducing underground movies to the American heartland."

7. How do Hoberman and Rosenbaum characterize Warhol’s post-1967 films?

They described them as "nudeity-filled feature". Warhol was cashing in on the success of TheHustler and Chelsea Girls. The films I, a Man, Bike Boy, and Nude Restaraurant and The Loves of Ondine were produced in the summer of 1967. They describes them as "technically improved but spiritually coarsened."