Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films, pornography, documentaries, and many other far-flung corners of film culture. This glorious panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true center of avant-garde cinema in the United States. As he brilliantly delineates the cultural perimeter of the film business from the earliest days of cinema to the contemporary scene, David James argues that avant-garde and minority filmmaking in Los Angeles has in fact been the prototypical attempt to create emancipatory and progressive culture. Drawing from urban history and geography, local news reporting, and a wide range of film criticism, James gives astute analyzes of scores of films—many of which are to found only in archives. He also looks at some of the most innovative moments in Hollywood, revealing the full extent of the cross-fertilization the occurred between the studio system and films created outside it. Throughout, he demonstrates that Los Angeles has been in the aesthetic and social vanguard in all cinematic periods—from the Socialist cinemas of the early teens and 1930s; to the personal cinemas of psychic self-investigation in the 1940s; to attempts in the 1960s to revitalize the industry with the counterculture’s utopian visions; and to the 1970s, when African Americans, Asian Americans, Latinos, women, gays, and lesbians worked to create cinemas of their own. James takes us up to the 1990s and beyond to explore new forms of art cinema that are now transforming the representation of Southern California’s geography.
Prominent among the omissions are the Woman's Building, the Wallenboyd and the Boyd Street Theaters, ... Greg Hise, Michael J. Dear, and H. Eric Schockman, “Rethinking Los Angeles”, Greg Hise, Michael J. Dear, and H. Eric Schockman, ...
"MacDonald's selections tread a pitch-perfect path between being comprehensive and making an engrossing and illuminating narrative.
Davis was quoted in Steve Chapple and Reebee Garofalo, Rock 'n' Roll Is Here to Pay: The History and Politics of the Music Industry (Chicago: Nelson-Hall, 1977), p. 47; Sinatra was quoted in Gertrude Samuels, “Why They Rock 'n Roll—And ...
David E. James, The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (Berkeley: University of California Press, 2005), 4. 11. James, The Most Typical Avant-Garde, 13, emphasis added. 12.
This volume gathers many of the best known writers on the avant-garde from three continents to write on the cinema of Ken Jacobs, who is arguably the most important living experimental filmmaker.
As more and more of the restored Warhol films become available, this book will remain an indispensable handbook for film historians and general moviegoers alike—especially because it is such a genuine pleasure to read."—David E. James, ...
In My Father the Doctor Weinstein's interview with her father is embedded within still photographs and home movies of her grandparents, parents, and of herself and her sister as children. The interview focuses on Saul Weinstein's pride ...
Regarded as one of the founders of the postwar American independent cinema, Maya Deren was a poet, photographer, ethnographer and filmaker. These essays examine Deren's writings, films, and legacy from a variety of perspectives.
Cooper said as much in Franco Bolelli and Peppo Delconte, “Henry Cow: L'avventura é solo cominciata,” Gong, April 1977, 11. Georgina Born to Mandy Merck, n.d. [January 1978], MMA. Fred Frith, unnumbered notebook, [1977], ...
... 1972) Cinefamily Cinematheque Cinematheque Cinespia Cemetery Screenings Clare, John Clark, Larry Carke, Shirley Class Clavilux (Thomas Wilfred) Clay Walls (Kim Ronyoung, 1987) Cobbett, William Cohen, Charles S. Come, Come, ...