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1. #SLEEPING AT LAST YEARBOOK NOVEMBER ZIP MOVIE#
2. #SLEEPING AT LAST YEARBOOK NOVEMBER ZIP FULL#
3. #SLEEPING AT LAST YEARBOOK NOVEMBER ZIP SERIES#

Silvestre Byrón: Deliciosas muñequitas perfumadas

#SLEEPING AT LAST YEARBOOK NOVEMBER ZIP MOVIE#

Richard Brick: The House Construction Home Movie Stan Brakhage: Sexual Meditation: Room With View Patrick Bokanowski: La Femme qui se Poudre (A Woman Powdering Herself) If anyone has a film to add, along with proof of year of completion, please leave a comment below.Īdolfo Arrieta: The Adventures of Sylvia Couski This isn’t meant to be a complete list, but just what I could find so far.

This was a novel practice at the time, but was soon to become extremely commonplace.īorn in 1972 was future avant-garde filmmaker Marie Losier.īelow is the list of films that I compiled with an official release date of 1972, organized alphabetically by director’s last name. But, he also starred in a short documentary called The Computer Generationin which he shows how he combined computer graphics into filmmaking.

Lastly, Stan Vanderbeek made several films himself in 1972, as you can see in the list below. The first version was never finished after the footage was stolen and Anger refused to pay the ransom to get it back. Kenneth Anger came out of his self-imposed retirement from filmmaking, complete with an “obituary” in the Village Voice, to make a second version of Lucifer Rising. Yet another not-quite-underground-but-still-significant film released in 1972 was Heat, the last movie in a trilogy directed by Paul Morrissey and produced by Andy Warhol, who had given up directing underground films himself just a few years earlier. The cannibalism scene during Divine’s birthday party in Pink Flamingos is a probable homage to Lewis. While this isn’t considered an underground film, nor was Lewis an “underground” filmmaker, he still had considerable influence on John Waters. Another big midnight movie hit was Robert Downey Sr.‘s Greaser’s Palace with Downey, like Waters, seeing his career evolve out of the underground and into the midnight world.ġ972 would also see the release of Herschell Gordon Lewis‘ final film, The Gore Gore Girls. Waters’ trash aesthetic, so perfectly displayed in Flamingos, would have a significant influence on the Cinema of Transgression movement that would start developing at the end of the decade. The most significant movie release of the year it can be argued, I think, was the release of John Waters‘ most notorious film, Pink Flamingos, a major midnight movie hit. The only film festival I’ve found that was open to the underground was the Yale Film Festival, which screened at least a few experimental films, including Carolee Schneemann’s controversial Fuses, which was completed several years earlier.Īlso, ’72 was a good year for midnight movies.

Since I only just started this project looking at the ’70s year-by-year, I haven’t yet uncovered exactly what venues were friendly to underground films and to where most of these filmmakers may have been screened. But that didn’t mean that there weren’t many filmmakers still producing experimental and avant-garde works, as evidenced by the lengthy list below compiled from the Canyon Cinema and Film-makers’ Cooperative online catalogs. Tyler also has negative things to say about David Curtis’ book Experimental Cinema, published in 1971.īy 1972, underground film as a “movement” and a phenomenon had mostly fizzled out. For a preface to this new edition - and which also can be found in later reprintings - Tyler takes exceptional offence to Mekas criticizing the book in his “Movie Journal” column by excerpting out all of Tyler’s negative criticisms regarding underground film. The book completely slams the later experimental and avant-garde film scene. Still the book runs 434 pages and, as far as I can tell, has never been reprinted.ġ972 also sees the release of a new edition of Parker Tyler’s notorious Underground Film: A Critical History, which was originally published in 1969.

#SLEEPING AT LAST YEARBOOK NOVEMBER ZIP FULL#

The book doesn’t include all of Mekas’ full columns, but only the parts Mekas feels significantly covers the underground film movement. In 1971, Jonas Mekas ended his popular film column in the Village Voice, but 1972 saw the publication of a book collection: Movie Journal: The Rise of a New American Cinema 1959-1971, put out by Collier Books. The below is a collection of rough data of films, filmmakers and significant events happening in 1972.

#SLEEPING AT LAST YEARBOOK NOVEMBER ZIP SERIES#

This is my second in a (hopefully) series of posts looking at the underground film scene of the 1970s, a period that, to me, gets criminally glossed over.