Film as a Subversive Art
From The Art and Popular Culture Encyclopedia
(Difference between revisions)
| Revision as of 09:36, 14 May 2021 Jahsonic (Talk | contribs) ← Previous diff |
Current revision Jahsonic (Talk | contribs) (→M) |
||
| Line 3: | Line 3: | ||
| "This is a book about the [[subversion]] of existing values, institutions, mores, and [[taboo]]s -- East and West, Left and Right -- by the potentially most powerful art of the century. It is a book that traffics in scepticism towards all received wisdom (including its own), towards eternal truths, rules of art, "natural" and man-made laws, indeed whatever may be considered holy. It is an attempt to preserve for a fleeting moment in time -- the life of this book -- the works and achievements of the subversives of film." --from the introduction | "This is a book about the [[subversion]] of existing values, institutions, mores, and [[taboo]]s -- East and West, Left and Right -- by the potentially most powerful art of the century. It is a book that traffics in scepticism towards all received wisdom (including its own), towards eternal truths, rules of art, "natural" and man-made laws, indeed whatever may be considered holy. It is an attempt to preserve for a fleeting moment in time -- the life of this book -- the works and achievements of the subversives of film." --from the introduction | ||
| <hr> | <hr> | ||
| - | "[[Dissolution]], [[fragmentation]], [[simultaneity]], [[decomposition]] -- these are words in the service not of [[obfuscation]] but of [[clarification]]. They denote not escape from reality, but a more fundamental analysis by a [[dissection]] of its ever growing [[complexity]]. "The art of our century," says Katherine Kuh, "has been characterized by shattered surfaces, broken color, segmented compositions, dissolving forms and shredded images. During the last hundred years, every aspect of art has been broken up -- color, light, pigment, form, line, content, space, surface, and design." ([[Katherine Kuh]], "[[Break-Up: The Core of Modern Art|Break-Up]]", 1965) From the fragmentation of color by the impressionists to the broken distortions of the expressionists, from the segmentation of surfaces and planes by the cubists to the surrealists' destruction of space and time, from the abstract expressionists' attack on form and pigment to the dadaist- pop subversion of art and the conceptualists' reduction to structure and [[non-meaning]], the "break-up" of form and content in modern art is complete." -- Amos Vogel in ''[[Film as a Subversive Art]]'' (1974) | + | "[[Dissolution]], [[fragmentation]], [[simultaneity]], [[decomposition]] -- these are words in the service not of [[obfuscation]] but of [[clarification]]. They denote not escape from reality, but a more fundamental analysis by a [[dissection]] of its ever growing [[complexity]]. "The art of our century," says Katherine Kuh, "has been characterized by shattered surfaces, broken color, segmented compositions, dissolving forms and shredded images. During the last hundred years, every aspect of art has been broken up -- color, light, pigment, form, line, content, space, surface, and design." ([[Katherine Kuh]], "[[Break-Up: The Core of Modern Art|Break-Up]]", 1965) From the fragmentation of color by the impressionists to the broken distortions of the expressionists, from the segmentation of surfaces and planes by the cubists to the surrealists' destruction of space and time, from the abstract expressionists' attack on form and pigment to the dadaist- pop subversion of art and the conceptualists' reduction to structure and [[non-meaning]], the "break-up" of form and content in modern art is complete." --''[[Film as a Subversive Art]]'' (1974) by Amos Vogel |
| - | + | ||
| |} | |} | ||
| {{Template}} | {{Template}} | ||
| __NOTOC__ | __NOTOC__ | ||
| - | '''''Film as a Subversive Art''''' is a [[1974]] [[film history]] book by [[Amos Vogel]] with mini-essays on over 600 '[[subversive]]', [[surreal film|surreal]], [[experimental film|experimental]] and [[countercultural film]]s. | + | '''''Film as a Subversive Art''''' (1974) is a [[film history]] book by [[Amos Vogel]] with mini-essays on over 600 [[subversive]], [[surreal film|surreal]], [[experimental film|experimental]] and [[countercultural film]]s. |
| On its cover, is the promotional poster for ''[[W.R.: Mysteries of the Organism]]''. | On its cover, is the promotional poster for ''[[W.R.: Mysteries of the Organism]]''. | ||
| - | Curiously absent in the book are [[Guy_Debord#Films|the films by Guy Debord]] and the [[Lettrist film]]s. View the complete list [[List of films from Film as a Subversive Art|here]]. | + | Surprisingly, [[Guy_Debord#Films|the films by Guy Debord]] and the [[Lettrist film]]s are not featured in the book. View the complete list [[List of films from Film as a Subversive Art|here]]. |
| == Epigraph == | == Epigraph == | ||
| :"But that the white eyelid of the screen reflect its proper light, the universe would go up in flames." — [[Luis Buñuel]] | :"But that the white eyelid of the screen reflect its proper light, the universe would go up in flames." — [[Luis Buñuel]] | ||
| Line 75: | Line 74: | ||
| *III. The Eternal Subversion | *III. The Eternal Subversion | ||
| + | ==Translations== | ||
| + | Dutch: ''De film als taboebreker'' translated by [[Anton Haakman]] and [[Ron Kaal]] | ||
| = List of films mentioned = | = List of films mentioned = | ||
| *[[List of films from Film as a Subversive Art]] | *[[List of films from Film as a Subversive Art]] | ||
| Line 141: | Line 142: | ||
| *[[Bells of Atlantis]] ([[Ian Hugo]], [[1953]], [[USA]]) | *[[Bells of Atlantis]] ([[Ian Hugo]], [[1953]], [[USA]]) | ||
| *[[The Bells of Silesia]] ([[Das Unheil]]) ([[Peter Fleischmann]], [[1972]], [[West Germany]]) | *[[The Bells of Silesia]] ([[Das Unheil]]) ([[Peter Fleischmann]], [[1972]], [[West Germany]]) | ||
| - | *[[Between Two Worlds]] ([[Sam Kaner]] and [[Guy L. Coté]], [[1955]], [[Great Britain]]) | + | *[[Between Two Worlds (Guy L. Côté) |Between Two Worlds]] ([[Sam Kaner]] and [[Guy L. Coté]], [[1955]], [[Great Britain]]) |
| *[[Beyond The Law]] ([[Norman Mailer]], [[1968]], [[USA]]) | *[[Beyond The Law]] ([[Norman Mailer]], [[1968]], [[USA]]) | ||
| *[[Bicycle Thief]] ([[Ladri Di Biciclette]]) ([[Vittorio de Sica]], [[1949]], [[Italy]]) | *[[Bicycle Thief]] ([[Ladri Di Biciclette]]) ([[Vittorio de Sica]], [[1949]], [[Italy]]) | ||
| *[[Big Business (1929 film)|Big Business]] ([[James W. Horne]], [[1924]], [[USA]]) | *[[Big Business (1929 film)|Big Business]] ([[James W. Horne]], [[1924]], [[USA]]) | ||
| *[[The Big Shave]] ([[Martin Scorcese]], [[1967]], [[USA]]) | *[[The Big Shave]] ([[Martin Scorcese]], [[1967]], [[USA]]) | ||
| - | *[[Birds]], [[Orphans And Fools]] ([[Ptackove]], [[Sirotci A Blazni]]) ([[Juraj Jakubisko]], [[1961]], [[France]]) | + | *[[Birds, Orphans and Fools]] ([[Vtáčkovia, siroty a blázni]]) ([[Juraj Jakubisko]], [[1961]], [[France]]) |
| - | *[[Birth and Death]] ([[Arthur Barron]] and [[Evelyn Barron]][http://us.imdb.com/name/nm0057663/], [[1968]], [[USA]]) | + | *[[Birth and Death]] ([[Arthur Barron]] and [[Evelyn Barron]], [[1968]], [[USA]]) |
| *[[Bitter Grapes]] ([[Richard Bartlett]], [[1968]], [[USA]]) | *[[Bitter Grapes]] ([[Richard Bartlett]], [[1968]], [[USA]]) | ||
| *[[Black and White Burlesque]] ([[Richard Preston]], [[1958]], [[USA]]) | *[[Black and White Burlesque]] ([[Richard Preston]], [[1958]], [[USA]]) | ||
| Line 193: | Line 194: | ||
| *[[Circle of Love]] ([[La Ronde]]) ([[Max Ophuls]], [[1954]], [[France]]) | *[[Circle of Love]] ([[La Ronde]]) ([[Max Ophuls]], [[1954]], [[France]]) | ||
| *[[Claire's Knee]] ([[Le Genou De Claire]]) ([[Eric Rohmer]], [[1970]], [[France]]) | *[[Claire's Knee]] ([[Le Genou De Claire]]) ([[Eric Rohmer]], [[1970]], [[France]]) | ||
| - | *[[A Clockwork Orange]] ([[Stanley Kubrick]], [[1972]], [[Great Britain]]) | + | *[[A Clockwork Orange (film)|A Clockwork Orange]] ([[Stanley Kubrick]], [[1972]], [[Great Britain]]) |
| *[[Co-Co Puffs]] ([[Ira Wohl]], [[1972]], [[USA]]) | *[[Co-Co Puffs]] ([[Ira Wohl]], [[1972]], [[USA]]) | ||
| *[[Color Film]] ([[Standish Lawder]], [[1971]], [[USA]]) | *[[Color Film]] ([[Standish Lawder]], [[1971]], [[USA]]) | ||
| *[[Coming Apart]] ([[Milton Moses Ginsberg]], [[1969]], [[USA]]) | *[[Coming Apart]] ([[Milton Moses Ginsberg]], [[1969]], [[USA]]) | ||
| - | *[[The Conformist]], ([[II Conformista]]) ([[Bernardo Bertolucci]], [[1970]], [[Italy/France/West Germany]]) | + | *[[The Conformist]], ([[Il Conformista]]) ([[Bernardo Bertolucci]], [[1970]], [[Italy/France/West Germany]]) |
| *[[Constitution And Censorship]] ([[Stephen Sharff]], [[1953]], [[USA]]) | *[[Constitution And Censorship]] ([[Stephen Sharff]], [[1953]], [[USA]]) | ||
| *[[Continuing Story Of Carel And Ferd]], [[The]] ([[Arthur Ginsburg]], [[1972]], [[USA]]) | *[[Continuing Story Of Carel And Ferd]], [[The]] ([[Arthur Ginsburg]], [[1972]], [[USA]]) | ||
| Line 218: | Line 219: | ||
| *[[Dead Movie]] ([[Taka Iimura]], 1968, USA) | *[[Dead Movie]] ([[Taka Iimura]], 1968, USA) | ||
| *[[Deadline For Action]] (Union Films, 1948, USA) | *[[Deadline For Action]] (Union Films, 1948, USA) | ||
| - | *[[Dear John]] (Kaere John) ([[Lars Magnus Lindgren]], 1964, Sweden) | + | *[[Dear John (1964 film)|Dear John]] (Kaere John) ([[Lars Magnus Lindgren]], 1964, Sweden) |
| *[[Death By Hanging]] (Koshikei) ([[Nagisa Oshima]], 1968, Japan) | *[[Death By Hanging]] (Koshikei) ([[Nagisa Oshima]], 1968, Japan) | ||
| *[[Death Day]] ([[Sergei M. Eisenstein]] (visuals), 1934, Mexico) | *[[Death Day]] ([[Sergei M. Eisenstein]] (visuals), 1934, Mexico) | ||
| Line 241: | Line 242: | ||
| *[[Documentary Footage]] ([[Morgan Fisher]], 1968, USA) | *[[Documentary Footage]] ([[Morgan Fisher]], 1968, USA) | ||
| *[[Don Juan Don Giovanni]] ([[Carmelo Bene]], 1970, Italy) | *[[Don Juan Don Giovanni]] ([[Carmelo Bene]], 1970, Italy) | ||
| - | *[[Don Quixote]] (Don Kihote) [[(Vlado Kristl]], 1961, Yugoslavia) | + | *[[Don Quixote]] (Don Kihote) ([[Vlado Kristl]], 1961, Yugoslavia) |
| *[[ The Door In The Wall]] ([[Glenn H. Alvey]], 1956, Great Britain) | *[[ The Door In The Wall]] ([[Glenn H. Alvey]], 1956, Great Britain) | ||
| *[[ The Dove]] ([[George Coe]], 1971, USA) | *[[ The Dove]] ([[George Coe]], 1971, USA) | ||
| Line 278: | Line 279: | ||
| *[[Faces (film)|Faces]] ([[John Cassavettes]],[[1968]],[[USA]]) | *[[Faces (film)|Faces]] ([[John Cassavettes]],[[1968]],[[USA]]) | ||
| *[[Family]] ([[Hubert Smith]],[[1971]],[[USA]]) | *[[Family]] ([[Hubert Smith]],[[1971]],[[USA]]) | ||
| - | *[[Fantastic Vision]] ([[Visions Fantastiques]]) ([[Eugene Deslaw]],[[1957]],[[Spain/Switzerland]]) | + | *[[Fantastic Vision]] ([[Visions Fantastiques]]) ([[Eugene Deslaw]],[[1957]],[[Spain]]/[[Switzerland]]) |
| - | *[[Far From Vietnam]] ([[Loin De Vietnam]]) ([[Resnais]],[[Varda]],[[Godard]],[[Marker]],[[Kein]],[[Ivens]] and [[Lelouch]],[[1965]],[[France]]) | + | *[[Far From Vietnam]] ([[Loin De Vietnam]]) ([[Resnais]],[[Varda]],[[Godard]],[[Marker]],[[William Klein (photographer)|Klein]],[[Ivens]] and [[Lelouch]],[[1965]],[[France]]) |
| - | *[[Fat And The Lean]],[[The]] ([[Le Gros Et Le Maigre]]) ([[Roman Polanski]],[[1964]],[[France]]) | + | *[[Fat and the Lean]],[[The]] ([[Le Gros Et Le Maigre]]) ([[Roman Polanski]],[[1964]],[[France]]) |
| - | *[[Fata Morgana]] ([[Werner Herzog]],[[1970]],[[West Germany]]) | + | *[[Fata Morgana (1971 film)|Fata Morgana]] ([[Werner Herzog]],[[1970]],[[West Germany]]) |
| *[[A Film]] ([[Un Film]]) ([[Sylvina Boissonnas]],[[1969]],[[France]]) | *[[A Film]] ([[Un Film]]) ([[Sylvina Boissonnas]],[[1969]],[[France]]) | ||
| *[[Fingerexercise]] ([[Fingerubung]]) ([[Robert Schauer]],[[1969]],[[Switzerland]]) | *[[Fingerexercise]] ([[Fingerubung]]) ([[Robert Schauer]],[[1969]],[[Switzerland]]) | ||
| Line 293: | Line 294: | ||
| *[[Flesh Of Morning]] ([[Stan Brakhage]],[[1966]],[[USA]]) | *[[Flesh Of Morning]] ([[Stan Brakhage]],[[1966]],[[USA]]) | ||
| *[[The Flicker]] ([[Tony Conrad]],[[1966]],[[USA]]) | *[[The Flicker]] ([[Tony Conrad]],[[1966]],[[USA]]) | ||
| - | *[[The Flowers Of St Francis]] ([[Francesco]],[[Giullare Di Dio]]) ([[Roberto Rossellini]],[[1950]],[[Italy]]) | + | *[[The Flowers Of St Francis]] ([[Francesco, giullare di Dio ]]) ([[Roberto Rossellini]],[[1950]],[[Italy]]) |
| *[[Fly]] ([[Yoko Ono]],[[1971]],[[USA]]) | *[[Fly]] ([[Yoko Ono]],[[1971]],[[USA]]) | ||
| - | *[[The Fly]] ([[Muha]]) ([[Alexsander Marks and Vladimir Jutrisa]],[[1967]],[[Yugoslavia]]) | + | *[[The Fly]] ([[Muha]]) ([[Alexsander Marks]] and [[Vladimir Jutrisa]],[[1967]],[[Yugoslavia]]) |
| *[[For Example]] ([[S. Arakawa]],[[1971]],[[USA]]) | *[[For Example]] ([[S. Arakawa]],[[1971]],[[USA]]) | ||
| *[[Forbidden Bullfight]] ([[Corrida Interdite]]) ([[Denys Colomb de Daunant]],[[1959]],[[France]]) | *[[Forbidden Bullfight]] ([[Corrida Interdite]]) ([[Denys Colomb de Daunant]],[[1959]],[[France]]) | ||
| Line 301: | Line 302: | ||
| *[[Fotodeath]] ([[Al Kouzel]],[[1958]],[[USA]]) | *[[Fotodeath]] ([[Al Kouzel]],[[1958]],[[USA]]) | ||
| *[[Fragment of Seeking]] ([[Curtis Harrington]],[[1946]],[[USA]]) | *[[Fragment of Seeking]] ([[Curtis Harrington]],[[1946]],[[USA]]) | ||
| - | *[[Freaks]] ([[Tod Browning]],[[1932]],[[USA]]) | + | *[[Freaks (1932 film)|Freaks]] ([[Tod Browning]],[[1932]],[[USA]]) |
| *[[Free Radicals]] ([[Len Lye]],[[1957]],[[USA]]) | *[[Free Radicals]] ([[Len Lye]],[[1957]],[[USA]]) | ||
| *[[Frenzy]] ([[Alfred Hitchcock]],[[1971]],[[Great Britain]]) | *[[Frenzy]] ([[Alfred Hitchcock]],[[1971]],[[Great Britain]]) | ||
| *[[Fritz the Cat]] ([[Ralph Bakshi]],[[1972]],[[USA]]) | *[[Fritz the Cat]] ([[Ralph Bakshi]],[[1972]],[[USA]]) | ||
| *[[Funeral Parade of Roses]] ([[Bara No Soretsu]]) ([[Toshio Matsumoto]],[[1969]],[[Japan]]) | *[[Funeral Parade of Roses]] ([[Bara No Soretsu]]) ([[Toshio Matsumoto]],[[1969]],[[Japan]]) | ||
| - | *[[Further Adventures Of Uncle Sam]] ([[Robert Mitchell and Dale Chase]],[[1971]],[[USA]]) | + | *[[Further Adventures Of Uncle Sam]] ([[Robert Mitchell]] and [[Dale Case]],[[1971]],[[USA]]) |
| == G == | == G == | ||
| Line 314: | Line 315: | ||
| *[[Gestapoman Schmidt]] ([[Powszedni Dzien Gestapowsca Schmidta]]) ([[Jerzy Ziarnik]],[[1964]],[[Poland]]) | *[[Gestapoman Schmidt]] ([[Powszedni Dzien Gestapowsca Schmidta]]) ([[Jerzy Ziarnik]],[[1964]],[[Poland]]) | ||
| *[[Gimme Shelter]] ([[Albert Maysles]] and [[David Maysles]],[[1970]],[[USA]]) | *[[Gimme Shelter]] ([[Albert Maysles]] and [[David Maysles]],[[1970]],[[USA]]) | ||
| - | *[[Glen And Randa]] ([[Jim McBride]],[[1971]],[[USA]]) | + | *[[Glen and Randa]] ([[Jim McBride]],[[1971]],[[USA]]) |
| *[[Go Slow On The Brighton]] ([[Donald Smith]],[[1952]],[[Great Britain]]) | *[[Go Slow On The Brighton]] ([[Donald Smith]],[[1952]],[[Great Britain]]) | ||
| *[[The Go-Between (film) |The Go-Between]] ([[Joseph Losey]],[[1971]],[[Great Britain]]) | *[[The Go-Between (film) |The Go-Between]] ([[Joseph Losey]],[[1971]],[[Great Britain]]) | ||
| *[[The Goalie's Anxiety at the Penalty Kick]], ([[Die Angst Des Tormanns Beim Elfmeter]]) ([[Wim Wenders]],[[1972]],[[Austria]]) | *[[The Goalie's Anxiety at the Penalty Kick]], ([[Die Angst Des Tormanns Beim Elfmeter]]) ([[Wim Wenders]],[[1972]],[[Austria]]) | ||
| - | *[[God is Dog Spelled Backwards]] ([[Don McLaughlin]],[[1967]],[[USA]]) | + | *[[God is Dog Spelled Backwards]] ([[Dan McLaughlin]],[[1967]],[[USA]]) |
| - | *[[The Gods And The Dead]], ([[Os Deuses E Os Mortes]]) ([[Ruy Guerra]],[[1970]],[[Brazil]]) | + | *[[The Gods and the Dead]], ([[Os Deuses E Os Mortes]]) ([[Ruy Guerra]],[[1970]],[[Brazil]]) |
| *[[The Golden Positions]], ([[James Broughton]],[[1970]],[[USA]]) | *[[The Golden Positions]], ([[James Broughton]],[[1970]],[[USA]]) | ||
| *[[Good Morning]] ([[Ohayo]]) ([[Yasujiro Ozu]],[[1960]],[[Japan]]) | *[[Good Morning]] ([[Ohayo]]) ([[Yasujiro Ozu]],[[1960]],[[Japan]]) | ||
| Line 329: | Line 330: | ||
| == H == | == H == | ||
| *[[HvO]] ([[Ralph Steiner]], [[1929]], [[USA]]) | *[[HvO]] ([[Ralph Steiner]], [[1929]], [[USA]]) | ||
| - | *[[Hail]] ([[Fed Levinson]], [[1971]], [[USA]]) | + | *[[Hail (film)|Hail]] ([[Fred Levinson]], [[1971]], [[USA]]) |
| *[[Studie II: Hallucinationer|Hallucinations]] ([[Peter Weiss]], [[1952]], [[Sweden]]) | *[[Studie II: Hallucinationer|Hallucinations]] ([[Peter Weiss]], [[1952]], [[Sweden]]) | ||
| *[[The Hamburg October 1923 Insurrection]], ([[Der Hamburger Aufstand Oktober 1923]]) ([[Reiner Etz]], [[Gisela Tuchtenhagen]] and [[Klaus Wildenhahn]], [[1972]], [[West Germany]]) | *[[The Hamburg October 1923 Insurrection]], ([[Der Hamburger Aufstand Oktober 1923]]) ([[Reiner Etz]], [[Gisela Tuchtenhagen]] and [[Klaus Wildenhahn]], [[1972]], [[West Germany]]) | ||
| Line 358: | Line 359: | ||
| *[[How I Became a Negro]] ([[Wie ich ein Neger wurde]]) ([[Roland Gall]], [[1970]], [[West Germany]]) | *[[How I Became a Negro]] ([[Wie ich ein Neger wurde]]) ([[Roland Gall]], [[1970]], [[West Germany]]) | ||
| *[[How Tasty Was My Little Frenchman]] ([[Como Era Gostoso 0 Meu Frances]]) ([[Nelson Pereira Dos Santos]], [[1971]], [[Brazil]]) | *[[How Tasty Was My Little Frenchman]] ([[Como Era Gostoso 0 Meu Frances]]) ([[Nelson Pereira Dos Santos]], [[1971]], [[Brazil]]) | ||
| - | *[[Guidebook To Bonn And Environs]] ([[Stadtführer Für Bonn Und Umgebung]]) ([[Manfred Vosz]], [[1969]], [[West Germany]]) | + | *[[Guidebook To Bonn and Environs]] ([[Stadtführer Für Bonn Und Umgebung]]) ([[Manfred Vosz]], [[1969]], [[West Germany]]) |
| == I == | == I == | ||
| Line 367: | Line 368: | ||
| *[[I'm Going To Give You All My Love]] ([[Jerrold Peil]], [[1971]], [[USA]]) | *[[I'm Going To Give You All My Love]] ([[Jerrold Peil]], [[1971]], [[USA]]) | ||
| *[[Ice]] ([[Robert Kramer]], [[1970]], [[USA]]) | *[[Ice]] ([[Robert Kramer]], [[1970]], [[USA]]) | ||
| - | *[[Idea]], [[The]] ([[L'ldee]]) ([[Berthold Bartosch]], [[1931]], [[France]]) | + | *[[The Idea (1932 film)|The Idea, The (L'Idée)]] ([[Berthold Bartosch]], [[1931]], [[France]]) |
| *[[Identification Marks: None]] ([[Rysopis]]) ([[Jerzy Skolimowski]], [[1964]], [[Poland]]) | *[[Identification Marks: None]] ([[Rysopis]]) ([[Jerzy Skolimowski]], [[1964]], [[Poland]]) | ||
| *[[If...]] ([[Lindsay Anderson]], [[1968]], [[Great Britain]]) | *[[If...]] ([[Lindsay Anderson]], [[1968]], [[Great Britain]]) | ||
| Line 373: | Line 374: | ||
| *[[L'imitation du cinéma]], ([[Marcel Marien]], [[1959]], [[Belgium]]) | *[[L'imitation du cinéma]], ([[Marcel Marien]], [[1959]], [[Belgium]]) | ||
| *[[Impudence In Grunewald]] ([[Unverschamtheit Im Grunewald]]) ([[Otmar Bauer]], [[1969]], [[Germany]]) | *[[Impudence In Grunewald]] ([[Unverschamtheit Im Grunewald]]) ([[Otmar Bauer]], [[1969]], [[Germany]]) | ||
| - | *[[Impures]], [[Les]] ([[Pierre Chevalier]], [[1954]], [[France]]) | + | *[[Les Impures]] ([[Pierre Chevalier]], [[1954]], [[France]]) |
| *[[In Marin County]] ([[Peter Hutton]], [[1971]], [[USA]]) | *[[In Marin County]] ([[Peter Hutton]], [[1971]], [[USA]]) | ||
| *[[Inauguration of the Pleasure Dome]] ([[Kenneth Anger]], [[1957]], [[USA]]) | *[[Inauguration of the Pleasure Dome]] ([[Kenneth Anger]], [[1957]], [[USA]]) | ||
| Line 379: | Line 380: | ||
| *[[Innocence Unprotected]] ([[Nevinost Bez Zastite]]) ([[Dušan Makavejev]], [[1968]], [[Yugoslavia]]) | *[[Innocence Unprotected]] ([[Nevinost Bez Zastite]]) ([[Dušan Makavejev]], [[1968]], [[Yugoslavia]]) | ||
| *[[The Innocent Sorcerers]] ([[Niewinni Czarodzieje]]) ([[Andrzej Wajda]], [[1960]], [[Poland]]) | *[[The Innocent Sorcerers]] ([[Niewinni Czarodzieje]]) ([[Andrzej Wajda]], [[1960]], [[Poland]]) | ||
| - | *[[Institutional Quality]] ([[George Landow]], [[1969]], [[USA]]) | + | *[[Institutional Quality]] ([[George Landow (filmmaker)|George Landow]], [[1969]], [[USA]]) |
| *[[Interviews With My Lai Veterans]] ([[Joseph Strick]], [[1971]], [[USA]]) | *[[Interviews With My Lai Veterans]] ([[Joseph Strick]], [[1971]], [[USA]]) | ||
| *[[Invasion Of The Body Snatchers]], [[The]] ([[Don Siegel]], [[1956]], [[USA]]) | *[[Invasion Of The Body Snatchers]], [[The]] ([[Don Siegel]], [[1956]], [[USA]]) | ||
| - | *[[It Happened Here]] ([[Kevin Brownlow and Andrew Mollo]], [[1964]], [[Great Britain]]) | + | *[[It Happened Here]] ([[Kevin Brownlow]] and [[Andrew Mollo]], [[1964]], [[Great Britain]]) |
| *[[It Is Good To Live]] ([[Fumio Kamei]], [[1958]], [[Japan]]) | *[[It Is Good To Live]] ([[Fumio Kamei]], [[1958]], [[Japan]]) | ||
| *[[It Is Not The Homosexual Who Is Perverse But The Situation In Which He Lives]] ([[Nicht Der Homosexuelle Ist Pervers]], [[Sondern Die Situation In Der Er Lebt]]) ([[Rosa Von Praunheim]], [[1971]], [[West Germany]]) | *[[It Is Not The Homosexual Who Is Perverse But The Situation In Which He Lives]] ([[Nicht Der Homosexuelle Ist Pervers]], [[Sondern Die Situation In Der Er Lebt]]) ([[Rosa Von Praunheim]], [[1971]], [[West Germany]]) | ||
| Line 393: | Line 394: | ||
| *[[La Jetee]], ([[Chris Marker]], [[1963]], [[France]]) | *[[La Jetee]], ([[Chris Marker]], [[1963]], [[France]]) | ||
| *[[the Joke]], ([[Zert]]) ([[Jaromil Jires]], [[1968]], [[Czechoslovakia]]) | *[[the Joke]], ([[Zert]]) ([[Jaromil Jires]], [[1968]], [[Czechoslovakia]]) | ||
| - | *[[Josef Kilian]] ([[Postava K v Podpirani]]) ([[Pavel Juracek and Jan Schmidt]], [[1963]], [[Czechoslovakia]]) | + | *[[Josef Kilian]] ([[Postava K v Podpirani]]) ([[Pavel Juracek]] and [[Jan Schmidt]], [[1963]], [[Czechoslovakia]]) |
| *[[Journey to Boscavia]] ([[Bosc]], [[1960]], [[France]]) | *[[Journey to Boscavia]] ([[Bosc]], [[1960]], [[France]]) | ||
| *[[Jud Suess]] ([[Jud Suss]]) ([[Veit Harlan]], [[1940]], [[Germany]]) | *[[Jud Suess]] ([[Jud Suss]]) ([[Veit Harlan]], [[1940]], [[Germany]]) | ||
| Line 444: | Line 445: | ||
| *[[Mailman]], [[The]] ([[Postschi]]) ([[Daryush Mehrjui]], [[1971]], [[Iran]]) | *[[Mailman]], [[The]] ([[Postschi]]) ([[Daryush Mehrjui]], [[1971]], [[Iran]]) | ||
| *[[Make Love]], [[Not War]] ([[Volite Se A Ne Ratujte]]) ([[Zlatko Grgic]], [[1971]], [[Yugoslavia]]) | *[[Make Love]], [[Not War]] ([[Volite Se A Ne Ratujte]]) ([[Zlatko Grgic]], [[1971]], [[Yugoslavia]]) | ||
| - | *[[Males]], [[Les]] ([[Gilles Carle]], [[1971]], [[Canada]]) | + | *[[Les Males]], ([[Gilles Carle]], [[1971]], [[Canada]]) |
| - | *[[Mama And Papa]] ([[Mama Und Papa]]) ([[Otto Muehl]], [[1963/69]], [[Austria]]) | + | *[[Mama and Papa]] ([[Mama Und Papa]]) ([[Otto Muehl]], [[1963/69]], [[Austria]]) |
| *[[Mammals]] ([[Ssaki]]) ([[Roman Polanski]], [[1962]], [[Poland]]) | *[[Mammals]] ([[Ssaki]]) ([[Roman Polanski]], [[1962]], [[Poland]]) | ||
| - | *[[Man And Dog Out For Air]] ([[Robert Breer]], [[1957]], [[USA]]) | + | *[[Man and Dog Out For Air]] ([[Robert Breer]], [[1957]], [[USA]]) |
| *[[Man From Onan]] ([[Alan Ruskin]], [[1971]], [[USA]]) | *[[Man From Onan]] ([[Alan Ruskin]], [[1971]], [[USA]]) | ||
| *[[Man Who Left His Will On Film]], [[The]] ([[Tokyo Senso Sengo Hiwa]]) ([[Nagisa Oshima]], [[1970]], [[Japan]]) | *[[Man Who Left His Will On Film]], [[The]] ([[Tokyo Senso Sengo Hiwa]]) ([[Nagisa Oshima]], [[1970]], [[Japan]]) | ||
| *[[Man with a Movie Camera]], ([[Chelovek A Kinoapparatom]]) ([[Dziga Vertov]], [[1929]], [[USSR]]) | *[[Man with a Movie Camera]], ([[Chelovek A Kinoapparatom]]) ([[Dziga Vertov]], [[1929]], [[USSR]]) | ||
| *[[Margalit]], [[The Highway Queen]] ([[Malkat Hakvish]]) ([[Menachem Golan]], [[1971]], [[Israel]]) | *[[Margalit]], [[The Highway Queen]] ([[Malkat Hakvish]]) ([[Menachem Golan]], [[1971]], [[Israel]]) | ||
| - | *[[Maria-Conception Action - Hermann Nitsch]] ([[Maria-Empfangnis - Aktion Hermann Nitsch]]) ([[Irm and Ed Sommer]], [[1969]], [[West Germany]]) | + | *[[Maria-Conception Action - Hermann Nitsch]] ([[Maria-Empfangnis - Aktion Hermann Nitsch]]) ([[Irm]] and [[Ed Sommer]], [[1969]], [[West Germany]]) |
| *[[Marines]], [[The]] ([[Les Marines]]) ([[Francois Reicenbach]], [[1957]], [[France]]) | *[[Marines]], [[The]] ([[Les Marines]]) ([[Francois Reicenbach]], [[1957]], [[France]]) | ||
| - | *[[Marjoe]] ([[Howard Smith and Sarah Kernochan]], [[1972]], [[USA]]) | + | *[[Marjoe]] ([[Howard Smit]]h and [[Sarah Kernochan]], [[1972]], [[USA]]) |
| *[[Married Woman]], [[The]] ([[La later Une Femme Mariee]]) ([[Jean-Luc Godard]], [[1964]], [[France]]) | *[[Married Woman]], [[The]] ([[La later Une Femme Mariee]]) ([[Jean-Luc Godard]], [[1964]], [[France]]) | ||
| *[[Masculine-Feminine]] ([[Masculin- Feminin]]) ([[Jean-Luc Godard]], [[1966]], [[France]]) | *[[Masculine-Feminine]] ([[Masculin- Feminin]]) ([[Jean-Luc Godard]], [[1966]], [[France]]) | ||
| *[[Meditation On The End Of Human Life]] ([[Posledni Veci Cloveka]]) ([[Jovan Kubicek]], [[1967]], [[Czechoslovakia]]) | *[[Meditation On The End Of Human Life]] ([[Posledni Veci Cloveka]]) ([[Jovan Kubicek]], [[1967]], [[Czechoslovakia]]) | ||
| - | *[[Memorandum]] ([[Donald Brittain and John Spotten]], [[1966]], [[Canada]]) | + | *[[Memorandum]] ([[Donald Brittain]] and [[John Spotten]], [[1966]], [[Canada]]) |
| *[[Memories Of Underdevelopment]] ([[Memorias Del Subdesarollo]]) ([[Tomas G. Alea]], [[1969]], [[Cuba]]) | *[[Memories Of Underdevelopment]] ([[Memorias Del Subdesarollo]]) ([[Tomas G. Alea]], [[1969]], [[Cuba]]) | ||
| *[[Merry Working Class]] ([[Vesela Klasa]]) ([[Bojana Marijan]], [[1969]], [[Yugoslavia]]) | *[[Merry Working Class]] ([[Vesela Klasa]]) ([[Bojana Marijan]], [[1969]], [[Yugoslavia]]) | ||
| Line 465: | Line 466: | ||
| *[[The Milky Way]] ([[La Voie Lactée]]) ([[Luis Buñuel]], [[1969]], [[France/West Germany/Italy]]) | *[[The Milky Way]] ([[La Voie Lactée]]) ([[Luis Buñuel]], [[1969]], [[France/West Germany/Italy]]) | ||
| *[[The Miracle]] ([[II Miracolo]]) ([[Roberto Rossellini]], [[1948]], [[Italy]]) | *[[The Miracle]] ([[II Miracolo]]) ([[Roberto Rossellini]], [[1948]], [[Italy]]) | ||
| - | *[[Modern Times]] ([[Charles Chaplin]], [[1936]], [[USA]]) | + | *[[Modern Times (film)|Modern Times]] ([[Charles Chaplin]], [[1936]], [[USA]]) |
| *[[Mona]] ([[Bill Osco]], [[1970]], [[USA]]) | *[[Mona]] ([[Bill Osco]], [[1970]], [[USA]]) | ||
| *[[Money Order]], [[The]] ([[Mandabi]]) ([[Ousamane Sembene]], [[1968]], [[Senegal]]) | *[[Money Order]], [[The]] ([[Mandabi]]) ([[Ousamane Sembene]], [[1968]], [[Senegal]]) | ||
| Line 477: | Line 478: | ||
| *[[Movie]], [[A]] ([[Bruce Conner]], [[1958]], [[USA]]) | *[[Movie]], [[A]] ([[Bruce Conner]], [[1958]], [[USA]]) | ||
| *[[Mr. Freedom]] ([[William Klein]], [[1970]], [[France]]) | *[[Mr. Freedom]] ([[William Klein]], [[1970]], [[France]]) | ||
| - | *[[Mr Frenhofer And The Minotaur]] ([[Sidney Peterson]], [[1949]], [[USA]]) | + | *[[Mr Frenhofer and The Minotaur]] ([[Sidney Peterson]], [[1949]], [[USA]]) |
| *[[The Murder of Fred Hampton]], ([[Mike Gray]], [[1971]], [[USA]]) | *[[The Murder of Fred Hampton]], ([[Mike Gray]], [[1971]], [[USA]]) | ||
| - | *[[Muriel]] ([[Alain Resnais]], [[1963]], [[France/Italy]]) | + | *[[Muriel (film)Muriel]] ([[Alain Resnais]], [[1963]], [[France/Italy]]) |
| *[[Murmur Of The Heart]] ([[Souffle Au Coeur]]) ([[Louis Malle]], [[1971]], [[France]]) | *[[Murmur Of The Heart]] ([[Souffle Au Coeur]]) ([[Louis Malle]], [[1971]], [[France]]) | ||
| Line 489: | Line 490: | ||
| *[[Nebula II]] ([[Robert Frerck]], [[1971]], [[USA]]) | *[[Nebula II]] ([[Robert Frerck]], [[1971]], [[USA]]) | ||
| *[[Necrology]] ([[Standish Lawder]], [[1969]], [[USA]]) | *[[Necrology]] ([[Standish Lawder]], [[1969]], [[USA]]) | ||
| - | *[[Night And Fog]] ([[Nuit Et Brouillard]]) ([[Alain Resnais]], [[1965]], [[France]]) | + | *[[Night and Fog]] ([[Nuit Et Brouillard]]) ([[Alain Resnais]], [[1965]], [[France]]) |
| *[[No More Fleeing]] ([[Nicht Mehr Fliehen]]) ([[Herbert Vesely]], [[1955]], [[West Germany]]) | *[[No More Fleeing]] ([[Nicht Mehr Fliehen]]) ([[Herbert Vesely]], [[1955]], [[West Germany]]) | ||
| *[[None Story]], [[The]] ([[Stag]], [[1950s]], [[USA]]) | *[[None Story]], [[The]] ([[Stag]], [[1950s]], [[USA]]) | ||
| Line 509: | Line 510: | ||
| *[[Off-On]] ([[Scott Bartlett]], [[1967]], [[USA]]) | *[[Off-On]] ([[Scott Bartlett]], [[1967]], [[USA]]) | ||
| *[[Oh Dem Watermelons]] ([[Robert Nelson]], [[1965]], [[USA]]) | *[[Oh Dem Watermelons]] ([[Robert Nelson]], [[1965]], [[USA]]) | ||
| - | *[[Old And The New]], [[The]] ([[Sergei M. Eisenstein]], [[1929]], [[USSR]]) | + | *[[Old and The New]], [[The]] ([[Sergei M. Eisenstein]], [[1929]], [[USSR]]) |
| *[[Olympia (1938 film)|Olympia]] ([[Leni Riefenstahl]], [[1938]], [[Germany]]) | *[[Olympia (1938 film)|Olympia]] ([[Leni Riefenstahl]], [[1938]], [[Germany]]) | ||
| *[[Olympiad]] ([[Lillian Schwartz]], [[1971]], [[USA]]) | *[[Olympiad]] ([[Lillian Schwartz]], [[1971]], [[USA]]) | ||
| Line 531: | Line 532: | ||
| *[[Particle Removal Series]] ([[David McCullough]], [[1972]], [[USA]]) | *[[Particle Removal Series]] ([[David McCullough]], [[1972]], [[USA]]) | ||
| *[[Particularly Valuable]] ([[Besonders Wertvoll]] ([[Helmuth Costard]], [[1968]], [[Germany]]) | *[[Particularly Valuable]] ([[Besonders Wertvoll]] ([[Helmuth Costard]], [[1968]], [[Germany]]) | ||
| - | *[[Pas De Deux]] ([[Norman McLaren]], [[1968]], [[Canada]]) | + | *[[Pas de deux (film)|Pas De Deux]] ([[Norman McLaren]], [[1968]], [[Canada]]) |
| *[[Passing Days]] ([[Idu Dani]] ([[Nedeljko Dragic]], [[1969]], [[Yugoslavia]]) | *[[Passing Days]] ([[Idu Dani]] ([[Nedeljko Dragic]], [[1969]], [[Yugoslavia]]) | ||
| *[[The Path]], ([[Richard Myers]], [[1961]], [[USA]]) | *[[The Path]], ([[Richard Myers]], [[1961]], [[USA]]) | ||
| - | *[[People And Their Guns]], [[The]] ([[Le Peuple Et Ses Fusils]] ([[Joris Ivens and film collective]], [[1967]], [[France]]) | + | *[[People and Their Guns]], [[The]] ([[Le Peuple Et Ses Fusils]] ([[Joris Ivens and film collective]], [[1967]], [[France]]) |
| *[[Per Aspera Ad Astra]] ([[Nedeljko Dragic]], [[1969]], [[Yugoslavia]]) | *[[Per Aspera Ad Astra]] ([[Nedeljko Dragic]], [[1969]], [[Yugoslavia]]) | ||
| *[[Permutations]] ([[John Whitney]], [[1968]], [[USA]]) | *[[Permutations]] ([[John Whitney]], [[1968]], [[USA]]) | ||
| Line 547: | Line 548: | ||
| *[[Power of Plants]] ([[Paul F. Moss and Thelma Schnee]], [[1949]], [[USA]]) | *[[Power of Plants]] ([[Paul F. Moss and Thelma Schnee]], [[1949]], [[USA]]) | ||
| *[[Prato Palomares]] ([[Andre Faria]], [[1970]], [[Brazil]]) | *[[Prato Palomares]] ([[Andre Faria]], [[1970]], [[Brazil]]) | ||
| - | *[[Pravda]] ([[Jean-Luc Godard and Dziga Vertov group]], [[1969]], [[France]]) | + | *[[Pravda]] ([[Jean-Luc Godard]] and [[Dziga Vertov group]], [[1969]], [[France]]) |
| *[[The Private Life of a Cat]] ([[Alexander Hammid]], [[1946]], [[USA]]) | *[[The Private Life of a Cat]] ([[Alexander Hammid]], [[1946]], [[USA]]) | ||
| *[[Prune Flat]] ([[Robert Whitman]], [[1965]], [[USA]]) | *[[Prune Flat]] ([[Robert Whitman]], [[1965]], [[USA]]) | ||
| Line 561: | Line 562: | ||
| *[[Que Viva Mexico]] ([[Sergei Eisenstein]], [[1931]], [[Mexico]]) | *[[Que Viva Mexico]] ([[Sergei Eisenstein]], [[1931]], [[Mexico]]) | ||
| *[[Queen Kelly]] ([[Erich von Stroheim]], [[1928]], [[USA]]) | *[[Queen Kelly]] ([[Erich von Stroheim]], [[1928]], [[USA]]) | ||
| - | *[[Queen]], [[The]] ([[Frank Simon]], [[1968]], [[USA]]) | + | *[[The Queen (1968 film)|The Queen]] ([[Frank Simon]], [[1968]], [[USA]]) |
| *[[Quiet Days in Clichy]] ([[Jens Jorgen Thorsten]], [[1970]], [[Denmark]]) | *[[Quiet Days in Clichy]] ([[Jens Jorgen Thorsten]], [[1970]], [[Denmark]]) | ||
| *[[Race]], [[The]] ([[William Copland]], [[1970]], [[Australia]]) | *[[Race]], [[The]] ([[William Copland]], [[1970]], [[Australia]]) | ||
| Line 572: | Line 573: | ||
| *[[The Reality of Karel Appel]], ([[De Werkelijkheid van Karel Appel]]) ([[Jan Vrijman]], [[1962]], [[Holland]]) | *[[The Reality of Karel Appel]], ([[De Werkelijkheid van Karel Appel]]) ([[Jan Vrijman]], [[1962]], [[Holland]]) | ||
| *[[Recruits in Ingolstadt]] ([[Pioniere In Ingolstadt]]) ([[Rainer Werner Fassbinder]], [[1971]], [[West Germany]]) | *[[Recruits in Ingolstadt]] ([[Pioniere In Ingolstadt]]) ([[Rainer Werner Fassbinder]], [[1971]], [[West Germany]]) | ||
| - | *[[Red And The White]], [[The]] ([[Csillagosok]], [[Katonak]]) ([[Miklós Jancsó]], [[1968]], [[Hungary]]) | + | *[[The Red and The White]] ([[Csillagosok, Katonak]]) ([[Miklós Jancsó]], [[1968]], [[Hungary]]) |
| *[[Red Psalm]] ([[Meg Ker A Nep]]) ([[Miklós Jancsó]], [[1972]], [[Hungary]]) | *[[Red Psalm]] ([[Meg Ker A Nep]]) ([[Miklós Jancsó]], [[1972]], [[Hungary]]) | ||
| - | *[[Red Squad]] ([[Howard Blatt and Steve Fisher]], [[1972]], [[USA]]) | + | *[[Red Squad]] ([[Howard Blatt]] and [[Steve Fisher]], [[1972]], [[USA]]) |
| *[[Reed]] ([[Mexico Insurgent]]) ([[Reed: Mexico Insurgente]]) ([[Paul Leduc]], [[1971]], [[Mexico]]) | *[[Reed]] ([[Mexico Insurgent]]) ([[Reed: Mexico Insurgente]]) ([[Paul Leduc]], [[1971]], [[Mexico]]) | ||
| *[[Reflection]] ([[Zrcadleni]]) ([[Evald Schorm]], [[1965]], [[Czechoslovakia]]) | *[[Reflection]] ([[Zrcadleni]]) ([[Evald Schorm]], [[1965]], [[Czechoslovakia]]) | ||
| Line 580: | Line 581: | ||
| *[[Relativity]] ([[Ed Emshwiller]], [[1966]], [[USA]]) | *[[Relativity]] ([[Ed Emshwiller]], [[1966]], [[USA]]) | ||
| *[[Renaissance (film)|Renaissance]] ([[Walerian Borowczyk]], [[1963]], [[France]]) | *[[Renaissance (film)|Renaissance]] ([[Walerian Borowczyk]], [[1963]], [[France]]) | ||
| - | *[[Report On The Party And The Guests]] ([[O Slavnosti A Hostech]]) ([[Jan Nemec]], [[1966]], [[Czechoslovakia]]) | + | *[[Report On The Party and The Guests]] ([[O Slavnosti A Hostech]]) ([[Jan Nemec]], [[1966]], [[Czechoslovakia]]) |
| *[[Repulsion (film)|Repulsion]] ([[Roman Polanski]], [[1965]], [[Great Britain]]) | *[[Repulsion (film)|Repulsion]] ([[Roman Polanski]], [[1965]], [[Great Britain]]) | ||
| *[[Revealer]], [[The]] ([[Le Revelateur]]) ([[Philippe Garrel]], [[1968]], [[France]]) | *[[Revealer]], [[The]] ([[Le Revelateur]]) ([[Philippe Garrel]], [[1968]], [[France]]) | ||
| - | *[[Revolutionary Was A Cop]], [[The]] ([[Marc Weiss]], [[1971]], [[USA]]) | + | *[[The Revolutionary Was a Cop]] ([[Marc Weiss]], [[1971]], [[USA]]) |
| *[[Rhythmus 21]] ([[Hans Richter]], [[1921]], [[Germany]]) | *[[Rhythmus 21]] ([[Hans Richter]], [[1921]], [[Germany]]) | ||
| - | *[[Rite Of Love And Death]] ([[Yukoku]]) ([[Yukio Mishima]], [[1965]], [[Japan]]) | + | *[[Rite Of Love and Death]] ([[Yukoku]]) ([[Yukio Mishima]], [[1965]], [[Japan]]) |
| *[[Robert Wall]], [[Ex-FBI Agent]] ([[Michael Anderson]], [[Paul Jacobs]], [[Saul Landau]], [[Bill Yahrans]], [[1972]], [[USA]]) | *[[Robert Wall]], [[Ex-FBI Agent]] ([[Michael Anderson]], [[Paul Jacobs]], [[Saul Landau]], [[Bill Yahrans]], [[1972]], [[USA]]) | ||
| *[[Rogopag]] ([[Pier Paolo Pasolini]], [[1962]], [[Italy]]) | *[[Rogopag]] ([[Pier Paolo Pasolini]], [[1962]], [[Italy]]) | ||
| *[[Role Of My Family In The World Revolution]], [[The]] ([[Vloga Moje Porodice U Svetskoj Revoluciji]]) ([[Bata Cengic]], [[1971]], [[Yugoslavia]]) | *[[Role Of My Family In The World Revolution]], [[The]] ([[Vloga Moje Porodice U Svetskoj Revoluciji]]) ([[Bata Cengic]], [[1971]], [[Yugoslavia]]) | ||
| *[[Roma]] ([[Federico Fellini]], [[1972]], [[Italy]]) | *[[Roma]] ([[Federico Fellini]], [[1972]], [[Italy]]) | ||
| - | *[[Rome]], [[Open City]] ([[Roma]], [[Citta Aperta]]) ([[Roberto Rossellini]], [[1945]], [[Italy]]) | + | *[[Rome, Open City]] (Roma, Citta Aperta) ([[Roberto Rossellini]], [[1945]], [[Italy]]) |
| *[[Room Service 75]] ([[Fred Baker]], [[1971]], [[USA]]) | *[[Room Service 75]] ([[Fred Baker]], [[1971]], [[USA]]) | ||
| *[[Rope]] ([[Alfred Hitchcock]], [[1948]], [[USA]]) | *[[Rope]] ([[Alfred Hitchcock]], [[1948]], [[USA]]) | ||
| Line 597: | Line 598: | ||
| *[[Running Shadow]] ([[Robert Fulton]], [[1971]], [[USA]]) | *[[Running Shadow]] ([[Robert Fulton]], [[1971]], [[USA]]) | ||
| *[[The Running Jumping & Standing Still Film]] ([[Richard Lester]], [[Peter Sellers]], [[1959]], [[Great Britain]]) | *[[The Running Jumping & Standing Still Film]] ([[Richard Lester]], [[Peter Sellers]], [[1959]], [[Great Britain]]) | ||
| - | *[[Saint Michael Had A Rooster]] ([[San Michele Aveva Un Gallo]]) ([[Paolo and Vittorio Taviani]], [[1971]], [[Italy]]) | + | *[[Saint Michael Had A Rooster]] ([[San Michele Aveva Un Gallo]]) (Paolo and [[Vittorio Taviani]], [[1971]], [[Italy]]) |
| == S == | == S == | ||
| Line 621: | Line 622: | ||
| *[[Sighet]], [[Sighet]] ([[Harold Becker]], [[1967]], [[USA]]) | *[[Sighet]], [[Sighet]] ([[Harold Becker]], [[1967]], [[USA]]) | ||
| *[[Signs of Life]] ([[Lebenszeichen]]) ([[Werner Herzog]], [[1967]], [[Germany]]) | *[[Signs of Life]] ([[Lebenszeichen]]) ([[Werner Herzog]], [[1967]], [[Germany]]) | ||
| - | *[[Silence And Cry]] ([[Csend Es Kialtas]]) ([[Miklós Jancsó]], [[1967]], [[Hungary]]) | + | *[[Silence and Cry]] ([[Csend Es Kialtas]]) ([[Miklós Jancsó]], [[1967]], [[Hungary]]) |
| *[[The Silence]], ([[Tystnaden]]) ([[Ingmar Bergman]], [[1963]], [[Sweden]]) | *[[The Silence]], ([[Tystnaden]]) ([[Ingmar Bergman]], [[1963]], [[Sweden]]) | ||
| *[[Simon Of The Desert]] ([[Simon Del Desierto]]) ([[Luis Buñuel]], [[1966]], [[Mexico]]) | *[[Simon Of The Desert]] ([[Simon Del Desierto]]) ([[Luis Buñuel]], [[1966]], [[Mexico]]) | ||
| Line 633: | Line 634: | ||
| *[[Sodoma]] ([[Otto Muehl]], [[1970]], [[Austria]]) | *[[Sodoma]] ([[Otto Muehl]], [[1970]], [[Austria]]) | ||
| *[[Some Like It Hot]] ([[Billy Wilder]], [[1958]], [[USA]]) | *[[Some Like It Hot]] ([[Billy Wilder]], [[1958]], [[USA]]) | ||
| - | *[[Sorrow And The Pity]], [[The]] ([[Le Chagrin Et La Pitie]]) ([[Marcel Ophuls]], [[1971]], [[Switzerland]]) | + | *[[Sorrow and The Pity]], [[The]] ([[Le Chagrin Et La Pitie]]) ([[Marcel Ophuls]], [[1971]], [[Switzerland]]) |
| *[[Sort Of A Commercial For An Icebag]] ([[Michel Hugo]], [[1970]], [[USA]]) | *[[Sort Of A Commercial For An Icebag]] ([[Michel Hugo]], [[1970]], [[USA]]) | ||
| *[[Les Souffrances d'un oeuf meurtri]] ([[Roland Lethem]], [[1967]], [[Belgium]]) | *[[Les Souffrances d'un oeuf meurtri]] ([[Roland Lethem]], [[1967]], [[Belgium]]) | ||
| Line 644: | Line 645: | ||
| *[[Student Strike]] ([[Lipanjska Gibanja]]) ([[Zelimir Zilnik]], [[1968]], [[Yugoslavia]]) | *[[Student Strike]] ([[Lipanjska Gibanja]]) ([[Zelimir Zilnik]], [[1968]], [[Yugoslavia]]) | ||
| *[[Sudden Wealth Of The Poor People Of Kombach]], [[The]] ([[Der Plötzliche Reichtum Der Armen Leute Von Kombach]]) ([[Volker Schloendorff]], [[1971]], [[West Germany]]) | *[[Sudden Wealth Of The Poor People Of Kombach]], [[The]] ([[Der Plötzliche Reichtum Der Armen Leute Von Kombach]]) ([[Volker Schloendorff]], [[1971]], [[West Germany]]) | ||
| - | *[[Sunday]] ([[Dan Drasin]], [[1961]], [[USA]]) | + | *[[Sunday (Dan Drasin) |Sunday]] (Dan Drasin, [[1961]], [[USA]]) |
| *[[Sunnyside]] ([[Charles Chaplin]], [[1919]], [[USA]]) | *[[Sunnyside]] ([[Charles Chaplin]], [[1919]], [[USA]]) | ||
| *[[Runs Good]] ([[Pat O'Neill]], [[1971]], [[USA]]) | *[[Runs Good]] ([[Pat O'Neill]], [[1971]], [[USA]]) | ||
| Line 654: | Line 655: | ||
| *[[Take Me]] ([[Stephen Dwoskin]], [[1969]], [[Great Britain]]) | *[[Take Me]] ([[Stephen Dwoskin]], [[1969]], [[Great Britain]]) | ||
| *[[Tales]] ([[Cassandra Gerstein]], [[1970]], [[USA]]) | *[[Tales]] ([[Cassandra Gerstein]], [[1970]], [[USA]]) | ||
| - | *[[Tales of Kubelkind]] ([[Geschichten vom Kubelkind]]) ([[Ula Stoeckl and Edgar Reitz]], [[1970]], [[West Germany]]) | + | *[[Tales of Kubelkind]] ([[Geschichten vom Kubelkind]]) ([[Ula Stoeckl]] and [[Edgar Reitz]], [[1970]], [[West Germany]]) |
| *[[Taranta]], [[La]] ([[Gianfranco Mengozzi]], [[1961]], [[Italy]]) | *[[Taranta]], [[La]] ([[Gianfranco Mengozzi]], [[1961]], [[Italy]]) | ||
| - | *[[Technique and The Rite]], [[The]] ([[La Tecnica E II Rito]]) ([[Miklós Jancsó]], [[1971]], [[Italy]]) | + | *[[Technique and The Rite]], [[The]] ([[La tecnica e il rito]]) ([[Miklós Jancsó]], [[1971]], [[Italy]]) |
| *[[This Is It]] ([[James Broughton]], [[1971]], [[USA]]) | *[[This Is It]] ([[James Broughton]], [[1971]], [[USA]]) | ||
| *[[Three Lives]] ([[Kate Millett]], [[1971]], [[USA]]) | *[[Three Lives]] ([[Kate Millett]], [[1971]], [[USA]]) | ||
| Line 674: | Line 675: | ||
| *[[Twice A Man]] ([[Gregory J. Markopoulos]], [[1963]], [[USA]]) | *[[Twice A Man]] ([[Gregory J. Markopoulos]], [[1963]], [[USA]]) | ||
| *[[Twilight Of The Damned]], [[The]] ([[L Aube Des Damnes]]) ([[Ahmed Rachedi]], [[1970]], [[Algeria]]) | *[[Twilight Of The Damned]], [[The]] ([[L Aube Des Damnes]]) ([[Ahmed Rachedi]], [[1970]], [[Algeria]]) | ||
| - | *[[Two Men And A Wardrobe]] ([[Dwaj LudzicZ Szafa]]) ([[Roman Polanski]], [[1957]], [[Poland]]) | + | *[[Two Men and A Wardrobe]] ([[Dwaj LudzicZ Szafa]]) ([[Roman Polanski]], [[1957]], [[Poland]]) |
| *[[Two or Three Things I Know About Her]] ([[Deux Ou trois choses que je sais d'elle]]) ([[Jean-Luc Godard]], [[1966]], [[France]]) | *[[Two or Three Things I Know About Her]] ([[Deux Ou trois choses que je sais d'elle]]) ([[Jean-Luc Godard]], [[1966]], [[France]]) | ||
| *[[2001]] ([[Stanley Kubrick]], [[1968]], [[Great Britain]] | *[[2001]] ([[Stanley Kubrick]], [[1968]], [[Great Britain]] | ||
| Line 684: | Line 685: | ||
| *[[Vali]] ([[Sheldon and Diane Rachlin]], [[1965]], [[USA]]) | *[[Vali]] ([[Sheldon and Diane Rachlin]], [[1965]], [[USA]]) | ||
| *[[Valparaiso]], [[Valparaiso]] ([[Pascal Aubier]], [[1971]], [[France]]) | *[[Valparaiso]], [[Valparaiso]] ([[Pascal Aubier]], [[1971]], [[France]]) | ||
| - | *[[Vampires]] ([[Les Vampires]]) ([[Louis Feuillade]], [[1915]], [[France]]) | + | *[[Les Vampires|Vampires]] ([[Les Vampires]]) ([[Louis Feuillade]], [[1915]], [[France]]) |
| *[[Vampyr]] ([[Dreyer]]) ([[Carl Theodor Dreyer]], [[1931]], [[Germany/France]]) | *[[Vampyr]] ([[Dreyer]]) ([[Carl Theodor Dreyer]], [[1931]], [[Germany/France]]) | ||
| *[[Vampyr]] ([[Portabella]]) ([[Pedro Portabella]], [[1970]], [[Spain]]) | *[[Vampyr]] ([[Portabella]]) ([[Pedro Portabella]], [[1970]], [[Spain]]) | ||
| Line 706: | Line 707: | ||
| *[[The War Game]]([[Peter Watkins]], [[1965]], [[Great Britain]]) | *[[The War Game]]([[Peter Watkins]], [[1965]], [[Great Britain]]) | ||
| *[[Warrendale]] ([[Allan King]], [[1966]], [[Canada]]) | *[[Warrendale]] ([[Allan King]], [[1966]], [[Canada]]) | ||
| - | *[[Warsaw 1956]] ([[Warsawa 1956]]) ([[Jerzy Bossak and Waclaw Kazimierczak]], [[1956]], [[Poland]]) | + | *[[Warsaw 1956]] ([[Warsawa 1956]]) ([[Jerzy Bossak]] and [[Waclaw Kazimierczak]], [[1956]], [[Poland]]) |
| *[[Warsaw Ghetto]] ([[Anonymous]], [[1943/4]], [[Germany]]) | *[[Warsaw Ghetto]] ([[Anonymous]], [[1943/4]], [[Germany]]) | ||
| *[[Wavelength (1967 film)|Wavelength]] ([[Michael Snow]], [[1967]], [[USA]]) | *[[Wavelength (1967 film)|Wavelength]] ([[Michael Snow]], [[1967]], [[USA]]) | ||
| Line 721: | Line 722: | ||
| *[[Witchcraft Through The Ages]] ([[Haxan]]) ([[Benjamin Christensen]], [[1922]], [[Sweden]]) | *[[Witchcraft Through The Ages]] ([[Haxan]]) ([[Benjamin Christensen]], [[1922]], [[Sweden]]) | ||
| *[[Woman in the Dunes]] ([[Suna No Onna]]) ([[Hiroshi Teshigahara]], [[1964]], [[Japan]]) | *[[Woman in the Dunes]] ([[Suna No Onna]]) ([[Hiroshi Teshigahara]], [[1964]], [[Japan]]) | ||
| - | *[[Woman's Film]], [[The]] ([[Judy Smith]], [[Louise Alaimo and Ellen Sorrin]] ([[San Francisco Newsreel film collective]]), [[1971]], [[USA]]) | + | *[[Woman's Film]], [[The]] ([[Judy Smith]], [[Louise Alaimo]] and [[Ellen Sorrin]] ([[San Francisco Newsreel film collective]]), [[1971]], [[USA]]) |
| - | *[[Woodstock]] ([[Micheal Wadleigh and Bob Maurice]], [[1969]], [[USA]]) | + | *[[Woodstock]] ([[Micheal Wadleigh]] and [[Bob Maurice]], [[1969]], [[USA]]) |
| *[[Work (1915 film)|Work]] ([[Charles Chaplin]], [[1915]], [[USA]]) | *[[Work (1915 film)|Work]] ([[Charles Chaplin]], [[1915]], [[USA]]) | ||
| *[[World of Paul Delvaux]], [[The]] ([[Le Monde De Paul Delvaux]]) ([[Henri Storck]], [[1947]], [[Belgium]]) | *[[World of Paul Delvaux]], [[The]] ([[Le Monde De Paul Delvaux]]) ([[Henri Storck]], [[1947]], [[Belgium]]) | ||
| Line 732: | Line 733: | ||
| *[[Zero for Conduct]] ([[Zéro de conduite]]) ([[Jean Vigo]], 1933, France) | *[[Zero for Conduct]] ([[Zéro de conduite]]) ([[Jean Vigo]], 1933, France) | ||
| *[[Zorn's Lemma]] ([[Hollis Frampton]], 1970, USA) | *[[Zorn's Lemma]] ([[Hollis Frampton]], 1970, USA) | ||
| - | *[[The Young And The Damned]], ([[Los Olvidados]]) ([[Luis Buñuel]], 1950, Mexico) | + | *[[The Young and The Damned]], ([[Los Olvidados]]) ([[Luis Buñuel]], 1950, Mexico) |
| {{GFDL}} | {{GFDL}} | ||
| [[Category:Film as a Subversive Art]] | [[Category:Film as a Subversive Art]] | ||
Current revision
|
"This is a book about the subversion of existing values, institutions, mores, and taboos -- East and West, Left and Right -- by the potentially most powerful art of the century. It is a book that traffics in scepticism towards all received wisdom (including its own), towards eternal truths, rules of art, "natural" and man-made laws, indeed whatever may be considered holy. It is an attempt to preserve for a fleeting moment in time -- the life of this book -- the works and achievements of the subversives of film." --from the introduction "Dissolution, fragmentation, simultaneity, decomposition -- these are words in the service not of obfuscation but of clarification. They denote not escape from reality, but a more fundamental analysis by a dissection of its ever growing complexity. "The art of our century," says Katherine Kuh, "has been characterized by shattered surfaces, broken color, segmented compositions, dissolving forms and shredded images. During the last hundred years, every aspect of art has been broken up -- color, light, pigment, form, line, content, space, surface, and design." (Katherine Kuh, "Break-Up", 1965) From the fragmentation of color by the impressionists to the broken distortions of the expressionists, from the segmentation of surfaces and planes by the cubists to the surrealists' destruction of space and time, from the abstract expressionists' attack on form and pigment to the dadaist- pop subversion of art and the conceptualists' reduction to structure and non-meaning, the "break-up" of form and content in modern art is complete." --Film as a Subversive Art (1974) by Amos Vogel |
|
Related e |
|
Featured: |
Film as a Subversive Art (1974) is a film history book by Amos Vogel with mini-essays on over 600 subversive, surreal, experimental and countercultural films.
On its cover, is the promotional poster for W.R.: Mysteries of the Organism.
Surprisingly, the films by Guy Debord and the Lettrist films are not featured in the book. View the complete list here.
[edit]
Epigraph
- "But that the white eyelid of the screen reflect its proper light, the universe would go up in flames." — Luis Buñuel
- “I like my movies made in Hollywood.” — Richard Nixon
- “Behind the initiation to sensual pleasure, there loom narcotics.” — Pope Paul VII
- “By the displacement of an atom, a world may be shaken.” — Oscar Wilde
- “Film is the greatest teacher, because it teaches not only through the brain, but through the whole body.” — Vsevolod Pudovkin
- “The cinema implies a total inversion of values, a complete upheaval of optics, of perspective and logic. It is more exciting than phosphorus, more captivating than love.” — Antonin Artaud
- "'Don't go on multiplying the mysteries,’ Unwin said, ‘they should be kept simple. Bear in mind Poe's purloined letter, bear in mind Zangwill’s locked room.’ ‘Or made complex,’ replied Dunraven. ‘Bear in mind the universe.’" — Jorge Luis Borges
[edit]
Table of contents
[edit]
The Film Experience
- The World View of Subversive Cinema
[edit]
Part One: Weapons of Subversion, The Subversion of Form
- I. The Revolutionary Film Avant-Garde in Soviet Russia
- II. Aesthetic Rebels and Rebellious Clowns
- a. Expressionism: The Cinema of Unrest
- b. Surrealism: The Cinema of Shock
- c. Dada and Pop: Anti-Art?
- d. The Comic Tradition
- III. The Destruction of Time and Space
- IV. The Destruction of Plot and Narrative
- V. The Assault on Montage
- VI. The Triumph and Death of the Moving Camera
- a. The Camera Moves
- b. Minimal Cinema
- VII. The Devaluation of Language
- VIII. Straining towards the Limits
[edit]
Part Two: Weapons of Subversion, The Subversion of Content
- I. International Left and Revolutionary Cinema
- a. The West: Rebels, Maoists and the New Godard
- b. Subversion in Eastern Europe: Aesopian Metaphors
- c. The Third World: A New Cinema
- d. East Germany: Against the West
- II. The Terrible Poetry of Nazi Cinema
- III. Secrets and Revelations
[edit]
Part Three: Weapons of Subversion, Forbidden Subjects of the Cinema
- I. The Power of Visual Taboo
- II. The Attack on Puritanism: Nudity
- III. The End of Sexual Taboos: Erotic and Pornographic Cinema
- IV. The End of Sexual Taboos: Homosexuality and other Variants
- V. The First Mystery: Birth
- VI. The Ultimate Secret: Death
- a. Death
- b. Concentration Camps
- VII. The Attack on God: Blasphemy and Anti-clericalism
- VIII. Trance and Witchcraft
[edit]
Part Four: Towards a New Consciousness
- I. Counterculture and Avant-Garde
- II. The Subversion of Subversion
- III. The Eternal Subversion
[edit]
Translations
Dutch: De film als taboebreker translated by Anton Haakman and Ron Kaal
[edit]
List of films mentioned
A - B - C - D - E - F - G - H - I - J - K - L - M - N - O - P - Q - R - S - T - U - V - W - X - Y - Z
[edit]
Numbers
- ...and the Fifth Horseman Is Fear (A Paty Jezdec Je Strach ...) (Zbyněk Brynych, 1964, Czechoslovakia)
- 12-12-46 (Bernard Stone, 1966, USA)
- 8 x 8: A Chess Sonata in 8 Movements (Hans Richter, 1957, USA)
[edit]
A
- A La Mode, (Stan Vanderbeek, 1961, USA)
- À propos de Nice, (Jean Vigo, 1930, France
- The Horrible Dr. Hichcock (L'Orribile segreto del Dr. Hichcock, (Riccardo Freda, 1962, Italy)
- The Act of Seeing with One's Own Eyes, (Stan Brakhage, 1972, USA )
- Acupunctural Anaesthesia, (Peking Television, 1971, China )
- Love Affair; Or The Case of the Missing Switchboard Operator, (Ljubavni Slucaj Hi Tragedija Sluzbenice P.T.T, (Dušan Makavejev, 1967, Yugoslavia )
- L'Âge d'or, (Luis Buñuel, 1930, France )
- Akran, (Richard Myers, 1970, USA)
- Aktion 540, (Werner Koenigs, 1968, West Germany)
- Aktion J, (Walter Heynowski, 1961, East Germany)
- Alexander Nevsky, (Sergei M. Eisenstein, 1938, USSR)
- Alienist (Il Alienista - (Azyllo Muito Louco (Nelson Pereira dos Santos, 1970, Brazil)
- All My Babies, (George Stoney, 1963, USA)
- Allures, (Jordan Belson, 1961, USA)
- Alone, (Magany) (Vince Lakatos, 1969, Hungary)
- Among Men, (Wuearod Ludzi (Wladyslaw Slesicki, 1962, Poland)
- And God Created Woman, (Et Dieu... créa la femme (Roger Vadim, 1956, France )
- An Andalusian Dog, (Un chien andalou (Luis Buñuel, 1929, France )
- Andrei Roublev, (Andrej Rubljow (Andrei Tarkovsky, 1962-67, USSR )
- The Andromeda Strain, (Robert Wise, 1971, USA)
- Anemic Cinema, (Marcel Duchamp, 1926, France )
- An Angel Has Fallen, (Roman Polanski, 1959, Poland )
- Anticipation Of The Night, (Stan Brakhage, 1957, USA )
- Antonio-Das-Mortes, (Glauber Rocha, 1969, Brazil)
- Aos (Yoji Kuri, 1964, Japan )
- The Apartment, (Byt (Jan Svankmajer, 1968, Czechoslovakia)
- Apotheosis/Apotheosis 2, (John Lennon, 1970, Great Britain )
- Apropos Of A Person Variously Called Holy Lazarus Or Babaiu (Acerca De Un Personaje Que Unos Llaman San Lazaro Y Otros Llamen Bablu (Octavio Cortazar, 1968, Cuba)
- Archaeology (Archaeologia, (Andrzej Brzozowski, 1967, Poland)
- Archangel Gabriel (Archandel Gabriel A Pani Husa (Jiří Trnka, 1965, Czechoslovakia)
- The Archives Testify, (Annelie Thorndike and Andrew Thorndike, 1959, East Germany)
- Arnulf Rainer, (Peter Kubelka, 1957, Austria)
- The Arrival of a Train at La Ciotat Station, (L'Arrivée d'un train en gare de La Ciotat (Louis Lumière, 1895, France )
- Arsenal, (Alexander Dovzhenko, 1929, USSR)
- The Atom Strikes, (Army Pictorial Service, US Signal Corps for War Department, 1950, USA)
- L'Avventura, (Michelangelo Antonioni, 1960, Italy)
[edit]
B
- Bad Luck (Zezowate szczęście) (Andrzej Munk, 1961, Poland)
- Ballet Mécanique (Fernand Leger, 1924, France)
- Baptism Of Fire (Feuertaufe) (Hans Bertram, 1940, Germany)
- Barbarella (Roger Vadim, 1968, France)
- The Battle of Algiers The (La Bataglia Di Algeria) (Gillo Pontecorvo, 1966, Italy)
- Battleship Potemkin (Bronenosets Potyomkin) (Sergei M. Eisenstein, 1925, USSR)
- Be Sure To Behave (A Sekat Dobrotu) (Peter Solan, 1968, Czechoslovakia)
- Beauty Knows No Pain (Elliott Erwitt, 1971, USA)
- Beaver Films (Stag, 1970, USA)
- Bed and Sofa (Tretya Meschanskaya) (Abram Room, 1927, USSR)
- The Bed (James Broughton, 1967, USA)
- Before The Revolution (Prima Delia Rivoluzione) (Bernardo Bertolucci, 1964, Italy)
- The Beginning of Life (Lars Wallen, 1968, Sweden)
- Belle de jour (Luis Buñuel, 1966, France)
- Bells of Atlantis (Ian Hugo, 1953, USA)
- The Bells of Silesia (Das Unheil) (Peter Fleischmann, 1972, West Germany)
- Between Two Worlds (Sam Kaner and Guy L. Coté, 1955, Great Britain)
- Beyond The Law (Norman Mailer, 1968, USA)
- Bicycle Thief (Ladri Di Biciclette) (Vittorio de Sica, 1949, Italy)
- Big Business (James W. Horne, 1924, USA)
- The Big Shave (Martin Scorcese, 1967, USA)
- Birds, Orphans and Fools (Vtáčkovia, siroty a blázni) (Juraj Jakubisko, 1961, France)
- Birth and Death (Arthur Barron and Evelyn Barron, 1968, USA)
- Bitter Grapes (Richard Bartlett, 1968, USA)
- Black and White Burlesque (Richard Preston, 1958, USA)
- Black Panthers (Agnès Varda, 1969, USA)
- Black Pudding (Nancy Edell, 1971, Great Britain)
- Black TV (Aldo Tambellini, 1969, USA)
- Blazes (Robert Breer, 1961, USA)
- Blood (Le Sang) (Jean-Daniel Pollet, 1971, France)
- The Blood of a Poet (Le Sang D'un Poete) (Jean Cocteau, 1930, France)
- Blood of the Beasts (Le Sang Des Betes) (Georges Franju, 1949, France)
- Blood Of The Condor (Yawar Mallku) (Jorge Sanjinés, 1970, Bolivia)
- The Bloodthirsty Fairy, (La Fee Sanguinaire) (Roland Lethem, 1968, Belgium)
- Blow Job (Andy Warhol, 1963/4, USA)
- Blow-Up (Michelangelo Antonioni, 1966, Great Britain)
- The Blue Angel (Der Blaue Engel) (Josef von Sternberg, 1930, Germany)
- The Blue Light (Das Blaue Licht) (Leni Riefenstahl and Béla Balázs, 1932, Germany)
- Blue Moses (Stan Brakhage, 1962, USA)
- Misère au Borinage (Joris Ivens and Henri Storck, 1933, Belgium)
- Boy (Shonen) (Nagisa Oshima, 1969, Japan)
- Brazil: A Report On Torture (Saul Landau and Haskell Wexler, 1971, Brazil)
- Breathing Together: Revolution Of The Electric Family (Morley Markson, 1970, Canada)
- Breathless (A Bout De Souffle) (Jean-Luc Godard, 1959, France)
- The Brig (Jonas Mekas, 1964, USA)
- But Do Not Deliver Us From Evil (Mais ne nous délivrez pas du mal) (Joël Séria, 1971, France)
- Butterflies, do not Live Here (Motyli Tady Neziji) (Miro Bernát, 1958, Czechoslovakia) (winner of Cannes in 1959)
- By The Law (Pozakonu) (Lev Kuleshov, 1926, USSR)
[edit]
C
- The Cabinet of Dr. Caligari, (Das Cabinet des Dr. Caligari) (Robert Wiene, 1919, Germany)
- Le Cadeau, (The Gift) (Jacques Vausseur and Dick Roberts, 1961, France)
- Camps of The Dead (Allied cameramen, 1947, France)
- Canyon (Jon Jost, 1971, USA)
- Capricci (Carmelo Bene, 1969, Italy)
- Casanova (Alexander Wolkov, 1927, France)
- The Casting, (James Pasternak, 1971, USA)
- The Cat and The Canary (Paul Leni, 1927, USA)
- The Chair, (Fotel) (Daniel Szczechura, 1963, Poland)
- Un chant d'amour, (Jean Genet, 1960, France)
- Child Undernourishment (Desnutricion Infantil) (Alvaro Ramirez, 1969, Chile)
- Chinese Firedrill (Will Hindle, 1968, USA)
- La Chinoise, (Jean-Luc Godard, 1967, France)
- Chotyn - 5km (Igor Kolovsky, 1968, USSR)
- Chronicle Of Anna Magdalena Bach, The (Die Chronik Der Anna Magdalena Bach) (Jean-Marie Straub, 1967, Germany)
- The Church Bell, (La Cloche) (Jean L'Hôte, 1964, France)
- Circle of Love (La Ronde) (Max Ophuls, 1954, France)
- Claire's Knee (Le Genou De Claire) (Eric Rohmer, 1970, France)
- A Clockwork Orange (Stanley Kubrick, 1972, Great Britain)
- Co-Co Puffs (Ira Wohl, 1972, USA)
- Color Film (Standish Lawder, 1971, USA)
- Coming Apart (Milton Moses Ginsberg, 1969, USA)
- The Conformist, (Il Conformista) (Bernardo Bertolucci, 1970, Italy/France/West Germany)
- Constitution And Censorship (Stephen Sharff, 1953, USA)
- Continuing Story Of Carel And Ferd, The (Arthur Ginsburg, 1972, USA)
- Cosmic Ray (Bruce Conner, 1962, USA)
- The Cow, (Gav) (Daryush Mehrjui, 1969, Iran)
- The Cremator, (Spalovac Mrtvol) (Juraj Herz, 1968, Czechoslovakia)
- Criminal Life Of Archibaldo De La Cruz (Ensayo de un crimen) (Luis Buñuel, 1955, Mexico)
- The Critical Years (Kristove Roky) (Juro Jakubisco, 1967, Czechoslovakia)
- The Cry Of Jazz (Edward Bland, 1959, USA)
- Cuckoo Waltz (Edward van Moerkerken, 1955, Holland)
- Culebra: The Beginning (Culebra) (Diego de la Texera, 1971, Puerto Rico)
[edit]
D
- Daisies (Sedmikrasky) (Vera Chytilova, 1966, Czechoslovakia)
- The Damned (La caduta degli dei, German: Götterdämmerung) (Luchino Visconti, 1969, West Germany)
- Damon The Mower (George Dunning, 1971, Great Britain)
- Danish Blue (Det Kaere Legettff) (Gabriel Axel, 1968, Denmark)
- A Day In Town (En Dag I Staden) (Pontus Hulten and Hans Nordenstrom, 1956, Sweden)
- Day of Wrath (Vredens Dags) (Carl Theodor Dreyer, 1943, Denmark)
- Dead Movie (Taka Iimura, 1968, USA)
- Deadline For Action (Union Films, 1948, USA)
- Dear John (Kaere John) (Lars Magnus Lindgren, 1964, Sweden)
- Death By Hanging (Koshikei) (Nagisa Oshima, 1968, Japan)
- Death Day (Sergei M. Eisenstein (visuals), 1934, Mexico)
- Death In Venice (Morte A Venezia) (Luchino Visconti, 1971, Italy)
- Death Of A Bureaucrat (La Muerte De Un Burocrata) (Tomas G. Alea, 1966, Cuba)
- Death Of Maria Malibran, The (Der Tod Der Maria Malibran) (Werner Schroeter, 1971, Germany)
- The Decameron (II Decamerone) (Pier Paolo Pasolini, 1970, Italy/France/Germany)
- Deep Throat (Gerard Damiano, 1972, USA)
- Delaware (Newsreel film collective, 1968/9, USA)
- Demonstrations (Strahov) (Anonymous, 1967, Czechoslovakia)
- Depart, Le (Jerzy Skolimowski, 1967, Belgium)
- The Deserter and the Nomads (Zbehove A Tulaci) (Juro Jakubisco, 1968, Czechoslovakia)
- Destroy, She Said (Detruire, Dit-Elle) (Marguerite Duras, 1969, France)
- Diabolique (Les Diaboliques) (Henri-Georges Clouzot, 1955, France)
- Diagonal Symphony (Diagonale Symphonie) (Viking Eggeling and Hans Richter, 1924, Germany)
- Diary Of A Country Priest (Journal D Un Cure De Campagne) (Robert Bresson, 1954, France)
- Diary Of A Shinjuku Burglar (Shinjuku Dorobo Nikki) ([Nagisa Oshima], 1968/9, Japan)
- Dinner Three Minutes (Jean-Paul Vroom, 1969, Netherlands)
- Discreet Charm Of The Bourgeoisie, The (La Charme Discrete De La Bourgeoisie) (Luis Buñuel, 1972, France)
- Disorder (Desordre) (Jacques Baratier, 1955, France)
- Distant Journey (Ghetto Terezin) (Alfred Radok, 1948, Czechoslovakia)
- Documentary Footage (Morgan Fisher, 1968, USA)
- Don Juan Don Giovanni (Carmelo Bene, 1970, Italy)
- Don Quixote (Don Kihote) (Vlado Kristl, 1961, Yugoslavia)
- The Door In The Wall (Glenn H. Alvey, 1956, Great Britain)
- The Dove (George Coe, 1971, USA)
- Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1963, Great Britain)
- Cybele (Donald Richie, 1968, Japan)
[edit]
E
- Early Works (Rani Radovi) (Zelimir Zilnik,1969,Yugoslavia)
- Earth (Zemlya) (Alexander Dovzhenko,1930,USSR)
- Eat (Andy Warhol,1963,USA)
- Eaten Horizons (Spiste Horisonter) (Wilhelm Freddie,1950,Denmark)
- Eater,An (Kazutomo Fuzino,1963,Japan)
- Echoes Of Silence (Peter Emanuel Goldman,1965,USA)
- Eclipse,The (L'Eclisse) (Michelangelo Antonioni,1962,France/Italy)
- Ectasy (Extase) (Gustav Machaty,1933,Czechoslovakia)
- Eight Flags For 99 Cents (Charles Olin,1970,USA)
- Eikka Katappa (Werner Schroeter,1970,West Germany)
- Electrosex (Anonymous,1970,USA)
- The Embryo (Koji Wakamatsu,1966,Japan)
- Emitai (Ousamane Sembene,1971,Senegal)
- Emperor Tomato Ketchup (Shuji Terayama,1972,Japan)
- Empire (Andy Warhol,1964,USA)
- End of One,The (Paul Kocela,1971,USA)
- End of St Petersburg,The (Konyets Sankt-Peterburga) (V. I. Pudovkin,1927,USSR)
- Dreams That Money Can Buy (Hans Richter,1948,USA)
- Eternal Jew,The (Der Ewige Jude) (Fritz Hippler,1940,Germany)
- Even Dwarfs Started Small (Auch Zwerge Haben Klein Angefangen) (Werner Herzog,1970,West Germany)
- Events (Fred Baker,1970,USA)
- Everready (Anonymous,1925,USA)
- Every Seventh Child (Jack Willis,1967,USA)
- Everything Is A Number (Wszystko Jest Liczba) (Stefan Schabenbeck,1967,Poland)
- Everything You Always Wanted To Know About Sex,But Were Afraid To Ask (Woody Allen,1972,USA)
- Evil Hour,An (Peter Wolff,1970,USA)
[edit]
F
- Faces (John Cassavettes,1968,USA)
- Family (Hubert Smith,1971,USA)
- Fantastic Vision (Visions Fantastiques) (Eugene Deslaw,1957,Spain/Switzerland)
- Far From Vietnam (Loin De Vietnam) (Resnais,Varda,Godard,Marker,Klein,Ivens and Lelouch,1965,France)
- Fat and the Lean,The (Le Gros Et Le Maigre) (Roman Polanski,1964,France)
- Fata Morgana (Werner Herzog,1970,West Germany)
- A Film (Un Film) (Sylvina Boissonnas,1969,France)
- Fingerexercise (Fingerubung) (Robert Schauer,1969,Switzerland)
- Fire Walkers,The (Anasternaria) (Roussos Condouros,1961,Greece)
- The Firemen's Ball (Hori Ma Panenko) (Milos Forman,1976,Czechoslovakia)
- Fireworks (Kenneth Anger,1947,USA)
- First Charge Of The Machete,The (La Primera Carga Al Machete) (Manuel Octavio Gomez,1969,Cuba)
- Five Easy Pieces (Bob Rafelson,1970,USA)
- Flaming Creatures (Jack Smith,1962,USA)
- Flesh (Paul Morrissey,1968,USA)
- Flesh Of Morning (Stan Brakhage,1966,USA)
- The Flicker (Tony Conrad,1966,USA)
- The Flowers Of St Francis (Francesco, giullare di Dio ) (Roberto Rossellini,1950,Italy)
- Fly (Yoko Ono,1971,USA)
- The Fly (Muha) (Alexsander Marks and Vladimir Jutrisa,1967,Yugoslavia)
- For Example (S. Arakawa,1971,USA)
- Forbidden Bullfight (Corrida Interdite) (Denys Colomb de Daunant,1959,France)
- Forbidden Games (Jeux Interdits) (Rene Clement,1952,France)
- Fotodeath (Al Kouzel,1958,USA)
- Fragment of Seeking (Curtis Harrington,1946,USA)
- Freaks (Tod Browning,1932,USA)
- Free Radicals (Len Lye,1957,USA)
- Frenzy (Alfred Hitchcock,1971,Great Britain)
- Fritz the Cat (Ralph Bakshi,1972,USA)
- Funeral Parade of Roses (Bara No Soretsu) (Toshio Matsumoto,1969,Japan)
- Further Adventures Of Uncle Sam (Robert Mitchell and Dale Case,1971,USA)
[edit]
G
- Le Gai Savoir, (Jean-Luc Godard,1969,France)
- Games of the Angels (Les Jeux Des Anges) (Walerian Borowczyk,1964,France)
- Germ and Chemical Warfare (CBS News,1968,USA)
- Gestapoman Schmidt (Powszedni Dzien Gestapowsca Schmidta) (Jerzy Ziarnik,1964,Poland)
- Gimme Shelter (Albert Maysles and David Maysles,1970,USA)
- Glen and Randa (Jim McBride,1971,USA)
- Go Slow On The Brighton (Donald Smith,1952,Great Britain)
- The Go-Between (Joseph Losey,1971,Great Britain)
- The Goalie's Anxiety at the Penalty Kick, (Die Angst Des Tormanns Beim Elfmeter) (Wim Wenders,1972,Austria)
- God is Dog Spelled Backwards (Dan McLaughlin,1967,USA)
- The Gods and the Dead, (Os Deuses E Os Mortes) (Ruy Guerra,1970,Brazil)
- The Golden Positions, (James Broughton,1970,USA)
- Good Morning (Ohayo) (Yasujiro Ozu,1960,Japan)
- La Gran Siguriya, (Jose Val Del Omar,1955,Spain)
- The Great American Train Robbery, (Edwin S. Porter,1903,USA)
- The Great Society (Fred Mogubgub,1967,USA)
- Fuses (Carolee Schneemann,1964-7,USA)
[edit]
H
- HvO (Ralph Steiner, 1929, USA)
- Hail (Fred Levinson, 1971, USA)
- Hallucinations (Peter Weiss, 1952, Sweden)
- The Hamburg October 1923 Insurrection, (Der Hamburger Aufstand Oktober 1923) (Reiner Etz, Gisela Tuchtenhagen and Klaus Wildenhahn, 1972, West Germany)
- The Hand, (Ruka) (Jiří Trnka, 1966, Czechoslovakia)
- Hands Over The City (Le Mani Sulla Citta) (Francesco Rosi, 1963, Italy)
- Hans Westmar (Franz Wenzler, 1933, Germany)
- Happiness (Le Bonheur) (Agnes Varda, 1966, France)
- A Hard Day's Night, (Richard Lester, 1964, Great Britain)
- Harry Munter (Kjell Grede, 1969, Sweden)
- Heat (Paul Morrissey, 1972, USA)
- The Heirs, (Os Herdeiros) (Carlos Diegues, 1968/9, Brazil)
- The Hellstrom Chronicle, (Walon Green and Ed Spiegel, 1971, USA)
- Here Comes Every Body (John Whitmore, 1972, USA)
- Hiroshima (M. Ogasawara and Y. Matsukawa, 1970, Japan)
- Hiroshima Mon Amour (Alain Resnais, 1959, France/Japan)
- A History of the Blue Movie (Alex de Renzy, 1971, USA)
- Hitlerjunge Quex (Hans Steinhoff, 1933, Germany)
- Hog Calling Blues (Neal Pace, 1969, USA)
- Holding (Constance Beeson, 1971, USA)
- Holiday On Sylt (Urlaub Auf Sylt) (Annelie Thorndike and Andrew Thorndike, 1959, East Germany)
- Homage to Jean Tinguely (Robert Breer, 1960, USA)
- Home (Dom) (Walerian Borowczyk and Jan Lenica, 1958, Poland)
- The Hopeless Ones, also (The Round-Up) (Szegenylegenyek) (Miklós Jancsó, 1965, Hungary)
- Horse Feathers (Norman McLeod, 1932, USA)
- The Hour Of The Blast Furnaces, (La Hora De Los Hornos) (Fernando Solanas, 1967, Argentina)
- The House Is Black, (Khaneh Siah Ast) (Foroogh Farrokhzad, 1963, Iran)
- The House, (Het Huis) (Louis A. van Gasteren, 1961, Netherlands)
- How I Became a Negro (Wie ich ein Neger wurde) (Roland Gall, 1970, West Germany)
- How Tasty Was My Little Frenchman (Como Era Gostoso 0 Meu Frances) (Nelson Pereira Dos Santos, 1971, Brazil)
- Guidebook To Bonn and Environs (Stadtführer Für Bonn Und Umgebung) (Manfred Vosz, 1969, West Germany)
[edit]
I
- I Am Curious Yellow/Blue (Jag Ar Nyfiken - Gul/Bla) (Vilgot Sjoman, 1967, Sweden)
- I Love You, I Kill You (Ich Liebe Dich, Ich Tote Dich) (Uwe Brander, 1971, West Germany)
- I Was A Kapo (Bylem Kapo) (Tadeusz Jaworski, 1964, Poland)
- I'm A Man (Peter Rosen, 1969, USA)
- I'm Going To Give You All My Love (Jerrold Peil, 1971, USA)
- Ice (Robert Kramer, 1970, USA)
- The Idea, The (L'Idée) (Berthold Bartosch, 1931, France)
- Identification Marks: None (Rysopis) (Jerzy Skolimowski, 1964, Poland)
- If... (Lindsay Anderson, 1968, Great Britain)
- Images of Madness (Images de la folie) (Eric Duvivier, 1950, France)
- L'imitation du cinéma, (Marcel Marien, 1959, Belgium)
- Impudence In Grunewald (Unverschamtheit Im Grunewald) (Otmar Bauer, 1969, Germany)
- Les Impures (Pierre Chevalier, 1954, France)
- In Marin County (Peter Hutton, 1971, USA)
- Inauguration of the Pleasure Dome (Kenneth Anger, 1957, USA)
- Incredible Shrinking Man, The (Jack Arnold, 1957, USA)
- Innocence Unprotected (Nevinost Bez Zastite) (Dušan Makavejev, 1968, Yugoslavia)
- The Innocent Sorcerers (Niewinni Czarodzieje) (Andrzej Wajda, 1960, Poland)
- Institutional Quality (George Landow, 1969, USA)
- Interviews With My Lai Veterans (Joseph Strick, 1971, USA)
- Invasion Of The Body Snatchers, The (Don Siegel, 1956, USA)
- It Happened Here (Kevin Brownlow and Andrew Mollo, 1964, Great Britain)
- It Is Good To Live (Fumio Kamei, 1958, Japan)
- It Is Not The Homosexual Who Is Perverse But The Situation In Which He Lives (Nicht Der Homosexuelle Ist Pervers, Sondern Die Situation In Der Er Lebt) (Rosa Von Praunheim, 1971, West Germany)
- Ivan The Terrible (Ivan Grozny) (Sergei M. Eisenstein, 1945, USSR)
[edit]
J
- Jamestown Baloos (Robert Breer, 1967, USA)
- Jan Palach (Anonymous, 1969, Czechoslovakia)
- The Japanese Sword, (Nihonto - Monogatari) (T. Asano, 1958, Japan)
- La Jetee, (Chris Marker, 1963, France)
- the Joke, (Zert) (Jaromil Jires, 1968, Czechoslovakia)
- Josef Kilian (Postava K v Podpirani) (Pavel Juracek and Jan Schmidt, 1963, Czechoslovakia)
- Journey to Boscavia (Bosc, 1960, France)
- Jud Suess (Jud Suss) (Veit Harlan, 1940, Germany)
[edit]
K
- Kama Sutra Rides Again (Bob Godfrey, 1971, Great Britain)
- Katzelmacher (Rainer Werner Fassbinder, 1969, West Germany)
- King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933, USA)
- Kirsa Nicholina (Gunvor Nelson, 1970, USA)
- Kiss (Andy Warhol, 1962, USA)
- Knife in the Water (Nóż w wodzie) (Roman Polanski, 1962, Poland)
[edit]
L
- Jules and Jim (François Truffaut, 1962, France)
- LBJ (Santiago Álvarez, 1968, Cuba)
- Labyrinth (Labirynth) (Jan Lenica, 1962, Poland)
- Land of Silence and Darkness (Land Des Schweigens Und Der Dunkelheit) (Werner Herzog, 1971, West Germany)
- Land Without Bread (Las Hurdes) (Luis Buñuel, 1932, Spain)
- Lapis (James Whitney, 1963-7, USA)
- Lascivious Wotan, The (Der Geile Wotan) (Otto Muehl, 1971, Austria)
- The Last Laugh, (Der letzte Mann) (F. W. Murnau, 1924, Germany)
- The Last Picture Show, (Peter Bogdanovich, 1971, USA)
- Last Tango In Paris (L'Ultimo Tango A Parigi) (Bernardo Bertolucci, 1972, France/Italy)
- Last Year At Marienbad (L Annee Derniere A Marienbad) (Alain Resnais, 1961, France/Italy)
- The Late Matthew Pascal, (Feu Mathias Pascal) (Marcel L'Herbier, 1924, France)
- Latuko (Museum of Natural History, 1952, Sudan)
- The Laughing Man (Der Lachende Mann) (Walter Heynowski and Gerhard Scheumann, 1967, East Germany)
- The Lead Shoes (Sidney Peterson, 1949, USA)
- Liberation Of Mannique Mechanique, The (Steve Arnold, 1971, USA)
- Lickerish Quartet, The (Radley Mertzger, 1970, USA)
- Life With Video (William Walker, 1972, USA)
- Lightning Waterfall Fern Soup (Shelby Kennedy, 1971, USA)
- Limelight (Charles Chaplin, 1952, USA)
- Lion's Love (Agnes Varda, 1969, USA)
- Living in a Reversed World (Theodor Wrismann and Ivo Kohler, 1958, Austria)
- Kodak Ghost Poems, also Adventures of the Exquisite Corpse (Andre Noren, 1970, USA)
- Look At Life (Nicholas Gosling, 1969, Great Britain)
- Loops (Norman McLaren, 1948, Canada)
- Love (Ai) (Yoji Kuri, 1964, Japan)
- Love Story (Arthur Hiller, 1970, USA)
- Loved One, The (Tony Richardson, 1965, Great Britain)
- Lovemaking (Stan Brakhage, 1969, USA)
- Lovers, The (Les Amants) (Louis Malle, 1958, France)
[edit]
M
- M (Fritz Lang, 1931, Germany)
- Machine, The (Maszyna) (Daniel Szczechura, 1963, Poland)
- Macunaima (Joachim Pedro de Andrade, 1969, Brazil)
- Magritte (Luc De Heusch, 1955, Belgium)
- Mailman, The (Postschi) (Daryush Mehrjui, 1971, Iran)
- Make Love, Not War (Volite Se A Ne Ratujte) (Zlatko Grgic, 1971, Yugoslavia)
- Les Males, (Gilles Carle, 1971, Canada)
- Mama and Papa (Mama Und Papa) (Otto Muehl, 1963/69, Austria)
- Mammals (Ssaki) (Roman Polanski, 1962, Poland)
- Man and Dog Out For Air (Robert Breer, 1957, USA)
- Man From Onan (Alan Ruskin, 1971, USA)
- Man Who Left His Will On Film, The (Tokyo Senso Sengo Hiwa) (Nagisa Oshima, 1970, Japan)
- Man with a Movie Camera, (Chelovek A Kinoapparatom) (Dziga Vertov, 1929, USSR)
- Margalit, The Highway Queen (Malkat Hakvish) (Menachem Golan, 1971, Israel)
- Maria-Conception Action - Hermann Nitsch (Maria-Empfangnis - Aktion Hermann Nitsch) (Irm and Ed Sommer, 1969, West Germany)
- Marines, The (Les Marines) (Francois Reicenbach, 1957, France)
- Marjoe (Howard Smith and Sarah Kernochan, 1972, USA)
- Married Woman, The (La later Une Femme Mariee) (Jean-Luc Godard, 1964, France)
- Masculine-Feminine (Masculin- Feminin) (Jean-Luc Godard, 1966, France)
- Meditation On The End Of Human Life (Posledni Veci Cloveka) (Jovan Kubicek, 1967, Czechoslovakia)
- Memorandum (Donald Brittain and John Spotten, 1966, Canada)
- Memories Of Underdevelopment (Memorias Del Subdesarollo) (Tomas G. Alea, 1969, Cuba)
- Merry Working Class (Vesela Klasa) (Bojana Marijan, 1969, Yugoslavia)
- Meshes of the Afternoon (Maya Deren, 1943, USA)
- Mickey Mouse In Vietnam (Lee Savage, 1968, USA)
- The Milky Way (La Voie Lactée) (Luis Buñuel, 1969, France/West Germany/Italy)
- The Miracle (II Miracolo) (Roberto Rossellini, 1948, Italy)
- Modern Times (Charles Chaplin, 1936, USA)
- Mona (Bill Osco, 1970, USA)
- Money Order, The (Mandabi) (Ousamane Sembene, 1968, Senegal)
- Monsieur Verdoux (Charles Chaplin, 1947, USA)
- Moonwalk No. 1 (NASA, 1971, USA)
- Mosaic In Confidence (Mosaik Im Vertrauen) (Peter Kubelka, 1963, Austria)
- Most Beautiful Age, The (Nejkrasaetsi Vek) (Jaroslav Papousek, 1968, Czechoslovakia)
- Mother Joan of the Angels (Matka Joanna Od Aniolow) (Jerzy Kawalerowicz, 1961, Poland)
- Mothlight (Stan Brakhage, 1961, USA)
- Loves of a Blonde (Lasky Jedne Plavoulasky) (Milos Forman, 1965, Czechoslovakia)
- Movie, A (Bruce Conner, 1958, USA)
- Mr. Freedom (William Klein, 1970, France)
- Mr Frenhofer and The Minotaur (Sidney Peterson, 1949, USA)
- The Murder of Fred Hampton, (Mike Gray, 1971, USA)
- Muriel (film)Muriel (Alain Resnais, 1963, France/Italy)
- Murmur Of The Heart (Souffle Au Coeur) (Louis Malle, 1971, France)
[edit]
N
- NY, NY (Francis Thompson, 1958, USA)
- Naissant (Stephen Dwoskin, 1967, Great Britain)
- The Navigator, (Buster Keaton and Donald Crisp, 1924, USA)
- Nazarin (Luis Buñuel, 1958, Mexico)
- Nebula II (Robert Frerck, 1971, USA)
- Necrology (Standish Lawder, 1969, USA)
- Night and Fog (Nuit Et Brouillard) (Alain Resnais, 1965, France)
- No More Fleeing (Nicht Mehr Fliehen) (Herbert Vesely, 1955, West Germany)
- None Story, The (Stag, 1950s, USA)
- Nosferatu (F. W. Murnau, 1922, Germany)
- Not All That Flies Is A Bird (Nije Ptica Sve Sto Leti) (Borislav Sajtinac, 1970, Yugoslavia)
- Note From Above, A (Derek Phillips, 1969, Great Britain)
- Nothing Happened This Morning (David Bienstock, 1965, USA)
- La Notte, (Michelangelo Antonioni, 1961, Italy/France)
- Now! (Ahora) (Santiago Álvarez , 1965, Cuba)
- Number 4 (Yoko Ono, 1968, Great Britain)
- The Nun, (La Religieuse) (Jacques Rivette, 1965, France)
- My Dearest Wish (Nejvetsi Prani) (Jan Sprata, 1965, Czechoslovakia)
[edit]
O
- O Dreamland (Lindsay Anderson, 1953, Great Britain)
- O Lucky Man (Lindsay Anderson, 1973, Great Britain)
- O.K. (Walter Heynowski, 1964, East Germany)
- October (Oktyabr) (Sergei M. Eisenstein, 1927, USSR)
- Off-On (Scott Bartlett, 1967, USA)
- Oh Dem Watermelons (Robert Nelson, 1965, USA)
- Old and The New, The (Sergei M. Eisenstein, 1929, USSR)
- Olympia (Leni Riefenstahl, 1938, Germany)
- Olympiad (Lillian Schwartz, 1971, USA)
- On A Most Beautiful Meadow (Im Schönsten Wiesengrunde) (Peter von Guten, 1968, Switzerland)
- Onibaba (Kaneto Shindo, 1964, Japan)
- L'Opera Mouffe (Agnes Varda, 1958, France)
- Operation Abolition (Newsreel, 1960, USA)
- Operation Correction (ACLU, 1961, USA)
- Orange (Karen Johnson, 1969, USA)
- Ordinary Courage (Kazdy Den Odvahu) (Evald Schorm, 1964, Czechoslovakia)
- Ordinary Fascism (Obyknovenni Fashizm) (Mikhail Romm, 1965, USSR)
- Otmar Bauer Presents (Otmar Bauer Zeigt) (Otmar Bauer, 1970, West Germany)
- Our Lady Of The Sphere (Larry Jordan, 1969, USA)
- Our Lady Of The Turks (Nostra Signora Dei Turchi) (Carmelo Bene, 1969, Italy)
[edit]
P
- Palestine (Nick Macdonald, 1971, USA)
- Pandora's Box (Die Buchse Der Pandora (G. W. Pabst, 1928, Germany)
- Paradise Now (Sheldon Rachlin, 1970, Great Britain)
- Paris Belongs To Us (Paris Nous Appartient (Jacques Rivette, 1958/60, France)
- Particle Removal Series (David McCullough, 1972, USA)
- Particularly Valuable (Besonders Wertvoll (Helmuth Costard, 1968, Germany)
- Pas De Deux (Norman McLaren, 1968, Canada)
- Passing Days (Idu Dani (Nedeljko Dragic, 1969, Yugoslavia)
- The Path, (Richard Myers, 1961, USA)
- People and Their Guns, The (Le Peuple Et Ses Fusils (Joris Ivens and film collective, 1967, France)
- Per Aspera Ad Astra (Nedeljko Dragic, 1969, Yugoslavia)
- Permutations (John Whitney, 1968, USA)
- Persona (Ingmar Bergman, 1966, Sweden)
- Pianissimo (Carmen D'Avino, 1963, USA)
- Pickpocket (Robert Bresson, 1958, France)
- Pigpen (also: Pigsty) (II Porcile (Pier Paolo Pasolini, 1969, France/Italy)
- Pilgrim, The (Charles Chaplin, 1922, USA)
- Pilots In Pajamas (Piloten Im Pyjama (Walter Heynowski and Gerhard Scheumann, 1968, East Germany)
- The Pleasure Garden, (James Broughton, 1953, Great Britain)
- Portrait of Jason (Shirley Clarke, 1967, USA)
- Power of Plants (Paul F. Moss and Thelma Schnee, 1949, USA)
- Prato Palomares (Andre Faria, 1970, Brazil)
- Pravda (Jean-Luc Godard and Dziga Vertov group, 1969, France)
- The Private Life of a Cat (Alexander Hammid, 1946, USA)
- Prune Flat (Robert Whitman, 1965, USA)
- Psycho (Alfred Hitchcock, 1960, USA)
- Psychomontage (Eberhard Kronhausen and Phyllis Kronhausen, 1960, USA)
- Pull My Daisy (Robert Frank and Alfred Leslie, 1959, USA)
- Punishment Park (Peter Watkins, 1971, Great Britain)
- Putney Swope (Robert Downey, 1969, USA)
- The Owl And The Pussycat, (Herbert Ross, 1970, USA)
- Que Hacer? (Saul Landau, James Becket, Rual Ruiz, Nina-Serrano, 1970, Chile-USA)
[edit]
Q
- Que Viva Mexico (Sergei Eisenstein, 1931, Mexico)
- Queen Kelly (Erich von Stroheim, 1928, USA)
- The Queen (Frank Simon, 1968, USA)
- Quiet Days in Clichy (Jens Jorgen Thorsten, 1970, Denmark)
- Race, The (William Copland, 1970, Australia)
- Railroad (Eisenbahn) (Lutz Mommartz, 1967, Germany)
[edit]
R
- Rape (Yoko Ono, 1969, Great Britain)
- Rashomon (Akira Kurosawa, 1951, Japan)
- Razor Blades (Paul Sharits, 1968, USA)
- The Reality of Karel Appel, (De Werkelijkheid van Karel Appel) (Jan Vrijman, 1962, Holland)
- Recruits in Ingolstadt (Pioniere In Ingolstadt) (Rainer Werner Fassbinder, 1971, West Germany)
- The Red and The White (Csillagosok, Katonak) (Miklós Jancsó, 1968, Hungary)
- Red Psalm (Meg Ker A Nep) (Miklós Jancsó, 1972, Hungary)
- Red Squad (Howard Blatt and Steve Fisher, 1972, USA)
- Reed (Mexico Insurgent) (Reed: Mexico Insurgente) (Paul Leduc, 1971, Mexico)
- Reflection (Zrcadleni) (Evald Schorm, 1965, Czechoslovakia)
- Région Centrale, La (Michael Snow, 1972, USA/Canada)
- Relativity (Ed Emshwiller, 1966, USA)
- Renaissance (Walerian Borowczyk, 1963, France)
- Report On The Party and The Guests (O Slavnosti A Hostech) (Jan Nemec, 1966, Czechoslovakia)
- Repulsion (Roman Polanski, 1965, Great Britain)
- Revealer, The (Le Revelateur) (Philippe Garrel, 1968, France)
- The Revolutionary Was a Cop (Marc Weiss, 1971, USA)
- Rhythmus 21 (Hans Richter, 1921, Germany)
- Rite Of Love and Death (Yukoku) (Yukio Mishima, 1965, Japan)
- Robert Wall, Ex-FBI Agent (Michael Anderson, Paul Jacobs, Saul Landau, Bill Yahrans, 1972, USA)
- Rogopag (Pier Paolo Pasolini, 1962, Italy)
- Role Of My Family In The World Revolution, The (Vloga Moje Porodice U Svetskoj Revoluciji) (Bata Cengic, 1971, Yugoslavia)
- Roma (Federico Fellini, 1972, Italy)
- Rome, Open City (Roma, Citta Aperta) (Roberto Rossellini, 1945, Italy)
- Room Service 75 (Fred Baker, 1971, USA)
- Rope (Alfred Hitchcock, 1948, USA)
- Rules of the Game, The (La Regie Du Jeu) (Jean Renior, 1938, France)
- Runaway (Standish Lawder, 1970, USA)
- Running Shadow (Robert Fulton, 1971, USA)
- The Running Jumping & Standing Still Film (Richard Lester, Peter Sellers, 1959, Great Britain)
- Saint Michael Had A Rooster (San Michele Aveva Un Gallo) (Paolo and Vittorio Taviani, 1971, Italy)
[edit]
S
- Salesman (Albert and David Maysles, 1969, USA)
- Samadhi (Jordan Belson, 1968, USA)
- Saturday Morning (Kent Mackenzie, 1970, USA)
- Satyricon (Federico Fellini, 1969, Italy)
- Scandalous Adventures Of Buraikan (Buraikan) (Masahiro Shinoda, 1970, Japan)
- Schoolgirl (David Reberg, 1971, USA)
- Science Friction (Stan Vanderbeek, 1960, USA)
- Second Coming, The (William Adler, 1915, USA)
- The Secret Cinema, (Paul Bartel, 1966, USA)
- Secret Formula (La Formula Secreta) (Ruben Gomez, 1966, Mexico)
- Secrete Of Life (Victor Faccinto, 1971, USA)
- See You At Mao (also: British Sounds) (Jean-Luc Godard and Dziga Vertov group, 1969, France/Great Britian)
- Selective Service System (Warren Hack, 1970, USA)
- Self-Obliteration (Jud Yalkut, 1967, USA)
- The Servant (Joseph Losey, 1963, Great Britain)
- 79 Springtimes (79 Primaveras) (Santiago Álvarez , 1969, Cuba)
- Sex (David Avidan, 1971, Israel)
- Shadow Of An Apple (Robert Lapoujade, 1965, France)
- She Done Him Wrong (Lowell Sherman, 1933, USA)
- Sighet, Sighet (Harold Becker, 1967, USA)
- Signs of Life (Lebenszeichen) (Werner Herzog, 1967, Germany)
- Silence and Cry (Csend Es Kialtas) (Miklós Jancsó, 1967, Hungary)
- The Silence, (Tystnaden) (Ingmar Bergman, 1963, Sweden)
- Simon Of The Desert (Simon Del Desierto) (Luis Buñuel, 1966, Mexico)
- Sin of Jesus, The (Robert Frank, 1961, USA)
- Sirius Remembered (Stan Brakhage, 1959, USA)
- Skullduggery (Stan Vanderbeek, 1956, USA)
- Sleep (Andy Warhol, 1963-4, USA)
- Smart Aleck (Stag, 1951, USA)
- Smiles Of A Summer Night (Sommarnattens Leende) (Ingmar Bergman, 1957, Sweden)
- Smoking (Joe Jones, 1970, USA)
- Sodoma (Otto Muehl, 1970, Austria)
- Some Like It Hot (Billy Wilder, 1958, USA)
- Sorrow and The Pity, The (Le Chagrin Et La Pitie) (Marcel Ophuls, 1971, Switzerland)
- Sort Of A Commercial For An Icebag (Michel Hugo, 1970, USA)
- Les Souffrances d'un oeuf meurtri (Roland Lethem, 1967, Belgium)
- Spain 68 (España 68) (Unitelefilm Collective, 1968, Italy)
- Spanish Earth, The (Joris Ivens, 1937, USA)
- Storm Over Asia (Potomok Chingis-Khan) (V. I. Pudovkin, 1928, USSR)
- Stranger Knocks, A (En Fremmed Banker Pa) (Johan Jacobsen, 1963, Denmark)
- Straw Dogs (Sam Peckinpah, 1971, USA)
- Strike (Stachka) (Sergei M. Eisenstein, 1924, USSR)
- Student Strike (Lipanjska Gibanja) (Zelimir Zilnik, 1968, Yugoslavia)
- Sudden Wealth Of The Poor People Of Kombach, The (Der Plötzliche Reichtum Der Armen Leute Von Kombach) (Volker Schloendorff, 1971, West Germany)
- Sunday (Dan Drasin, 1961, USA)
- Sunnyside (Charles Chaplin, 1919, USA)
- Runs Good (Pat O'Neill, 1971, USA)
- Superior Toys - Made In The USA (Feine Spielwaren - Made In USA) (Guenter Raetz, 1969, East Germany)
- Suppression Of Women Is Recognizable Above All By The Behaviour Of The Women Themselves!, The (Die Unterdruckung Der Frauen Ist Vor Allen Am Verhalten Der Frauen Selber Zu Erkennen!) (Helmuth Costard, 1970, Germany)
- Susan After The Sugar Harvest (Peter Robinson, 1971, USA)
[edit]
T
- Take Me (Stephen Dwoskin, 1969, Great Britain)
- Tales (Cassandra Gerstein, 1970, USA)
- Tales of Kubelkind (Geschichten vom Kubelkind) (Ula Stoeckl and Edgar Reitz, 1970, West Germany)
- Taranta, La (Gianfranco Mengozzi, 1961, Italy)
- Technique and The Rite, The (La tecnica e il rito) (Miklós Jancsó, 1971, Italy)
- This Is It (James Broughton, 1971, USA)
- Three Lives (Kate Millett, 1971, USA)
- Time In The Sun (Marie Seton and Burnford from Sergei M. Eistenstein, 1930, USA)
- Time Of Violence (Tempo Di Violencia) (Anonymous, 1970, Argentina)
- Titicut Follies (Frederick Wiseman, 1967, USA)
- To Live (Vivre) (Carlos Vilardebo, 1960, France)
- Tom, Tom, The Piper's Son (Ken Jacobs, 1969, USA)
- Touch Of Evil (Orson Welles, 1957, USA)
- Tout Va Bien (Jean-Luc Godard, 1972, France)
- Town Presented To The Jews As A Gift By The Fuhrer, A (Mesto Darovane) (Vladimir Kressl, 1968, Czechoslovakia)
- Trash (Paul Morrissey, 1970, USA)
- Triumph of the Will (Triumph des Willens) (Leni Riefenstahl, 1936, Germany)
- Tropic Of Cancer (Joseph Strick, 1970, USA)
- Troublemakers (Robert Machover and Norman Fruchter, 1966, USA)
- Tup-Tup (Nedeljko Dragic, 1972, Yugoslavia)
- Twice A Man (Gregory J. Markopoulos, 1963, USA)
- Twilight Of The Damned, The (L Aube Des Damnes) (Ahmed Rachedi, 1970, Algeria)
- Two Men and A Wardrobe (Dwaj LudzicZ Szafa) (Roman Polanski, 1957, Poland)
- Two or Three Things I Know About Her (Deux Ou trois choses que je sais d'elle) (Jean-Luc Godard, 1966, France)
- 2001 (Stanley Kubrick, 1968, Great Britain
[edit]
U
- UFO's (Lillian Schwartz and Ken Knowlton, 1972, USA)
- Unfolding (Constance Beeson, 1969, USA)
- Untitled (Bez Naslova) (Borivoj Dovnikovic, 1965, Yugoslavia)
- Vali (Sheldon and Diane Rachlin, 1965, USA)
- Valparaiso, Valparaiso (Pascal Aubier, 1971, France)
- Vampires (Les Vampires) (Louis Feuillade, 1915, France)
- Vampyr (Dreyer) (Carl Theodor Dreyer, 1931, Germany/France)
- Vampyr (Portabella) (Pedro Portabella, 1970, Spain)
- Variety (Variété) (Ewald Andre Dupont, 1925, Germany)
- La Verificata Incerta, (Gian Franco Barucello, Alberto Griffi, 1965, Italy)
- Vertigo (Alfred Hitchcock, 1958, USA)
- Vietnam, Land of Fire (No credits available, 1966, France)
- Village Of The Damned (Wolf Rilla, 1960, Great Britain)
- Violated Angels (Okasareta Byakui) (Koji Wakamatsu, 1967, Japan)
- Viridiana (Luis Buñuel, 1961, Spain/Mexico)
- Visual Training (Frans Zwartjes, 1969, Holland)
- Viva La Muerte (Arrabal, 1971, France)
- Vixen! (Russ Meyer, 1968, USA)
- Vow, The (Mikhail Chiaureli, 1946, USSR)
[edit]
W
- W.R.: Mysteries of the Organism (W.R. - Misterije organizma) (Dušan Makavejev, 1971, Yugoslavia)
- Walkover (Jerzy Skolimowski, 1965, Poland)
- The Wall (Zid) (Ante Zaninovic, 1966, Yugoslavia)
- Wandering (Bloudeni) (Jan Curik and Antonin Masa, 1965, Czechoslovakia)
- The War Game(Peter Watkins, 1965, Great Britain)
- Warrendale (Allan King, 1966, Canada)
- Warsaw 1956 (Warsawa 1956) (Jerzy Bossak and Waclaw Kazimierczak, 1956, Poland)
- Warsaw Ghetto (Anonymous, 1943/4, Germany)
- Wavelength (Michael Snow, 1967, USA)
- Week End (Jean-Luc Godard, 1968, France)
- What Goes On At Sex Therapy Clinics (Community Medical Cable Casting, 1972, USA)
- What, Who, How (Stan Vanderbeek, 1955, USA)
- When Love Fails (Michelangelo Antonioni, 1953, Italy)
- Wholly Communion (Peter Whitehead, 1965, Great Britain)
- Why (Hvorfor Goer De Det?) (Phyllis and Eberhard Kronhausen, 1971, Denmark)
- Why Not (S. Arakawa, 1970, USA)
- Window Water Baby Moving (Stan Brakhage, 1959, USA)
- Winter Wind (Sirocco) (Miklós Jancsó, 1969, Hungary)
- Wintersoldier (Winterfilm Collective, 1972, USA)
- Witchcraft Through The Ages (Haxan) (Benjamin Christensen, 1922, Sweden)
- Woman in the Dunes (Suna No Onna) (Hiroshi Teshigahara, 1964, Japan)
- Woman's Film, The (Judy Smith, Louise Alaimo and Ellen Sorrin (San Francisco Newsreel film collective), 1971, USA)
- Woodstock (Micheal Wadleigh and Bob Maurice, 1969, USA)
- Work (Charles Chaplin, 1915, USA)
- World of Paul Delvaux, The (Le Monde De Paul Delvaux) (Henri Storck, 1947, Belgium)
[edit]
Y
[edit]
Z
- Zero for Conduct (Zéro de conduite) (Jean Vigo, 1933, France)
- Zorn's Lemma (Hollis Frampton, 1970, USA)
- The Young and The Damned, (Los Olvidados) (Luis Buñuel, 1950, Mexico)
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Film as a Subversive Art" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
