POPULARITY
4 episodes with new american cinema
2 episodes with new american cinema
2 episodes with new american cinema
2 episodes with new american cinema
The New Hollywood era (also known as Hollywood Renaissance, American New Wave, or New American Cinema) was a period in film history from the mid 1960s to the early 1980s . Famous directors like Martin Scorsese, Francis Ford Coppola, Steven Spielberg, and George Lucas were founding fathers of the movement, changing the face of cinema forever. Star Wars came out in 1977, and in this episode we discuss how the epic space opera full of lightsabers and magic (aka the Force) did and didn't fit into this gritty era in cinema history. It's a fascinating discussion you won't want to miss!Support us on Patreon for as little as $3/month: patreon.com/MostThingsKenobiInstagram: most_things_kenobiWebsite: mostthingskenobi.comYouTube: MostThingsKenobiThreads: most_things_kenobiTumblr: MostThingsKenobi
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
Aaron and Carlee from the Hit Factory podcast return from San Francisco for a deep dive into the underrated 1983 American remake of Jean-Luc Godard's landmark film Breathless, directed by Jim McBride. Assailed at the time of release for being a shallow exercise in style, to watch Breathless 40 years later is to see a work arguably as influential on the next generation of American filmmakers as Godard's original had been on the New American Cinema of the 1970s; the remake's cocktail of retro cool, fast cars and meta-textual pop culture references mark it as a clear influence on Tarantino, Lynch and Paul Thomas Anderson among others. In an inversion of the original plot, Richard Gere plays Jesse Lujack, a petty criminal in Vegas obsessed with Jerry Lee Lewis and Silver Surfer comics who steals a Porsche, shoots a highway patrolman on his way to LA and as the manhunt develops, hides out with a French architecture student he'd recently had a fling with named Monica, played by the 19-year-old actress Valérie Kaprisky. Breathless '83 is extremely sexy so at the constant risk of being thrown in Horny Jail, the three of us discuss the intense on-screen chemistry between Gere and Kaprisky, McBride's use of vivid color, rear-screen projection and music to heighten the cinematic experience, what the film has to say about toxic masculinity and male narcissism, and we discuss the Silver Surfer-obsessed Jesse Lujack as a cautionary tale about becoming Marvel-poisoned. Breathless is currently streaming on Criterion Channel and Tubi. Become a patron of the podcast to access to exclusive episodes every month, including this summer's entire Miami Vice sidebar series. Over 30% of Junk Filter episodes are exclusively available to patrons. To support this show directly please subscribe at https://www.patreon.com/junkfilter Follow Aaron and Carlee on Twitter. Subscribe to the Hit Factory podcast; you can also support the show directly through Patreon. ‘Breathless' (1983): A Stylish Remake of Godard's 1960 Film as an Accurate Portrayal of Male Narcissism - by Koralika Suton, for NeoText Flat open matte 35mm trailer for Breathless (Jim McBride, 1983) X performing “Breathless” on Late Night with David Letterman, 1983
Access this entire 81 minute episode (and additional monthly bonus episodes) by becoming a Junk Filter patron: https://www.patreon.com/posts/72332422 Filmmaker Peter Fishbeast returns to the podcast from Belper, England to discuss the great director William Friedkin and his 1977 thriller Sorcerer. Hot off two of the biggest hits of the seventies (The French Connection and The Exorcist), Friedkin decided to do his own version of one of the most acclaimed international films of all time, Henri-Georges Clouzot's The Wages of Fear, the tale of four desperate fugitives who are paid by an avaricious oil company to drive trucks full of nitroglycerine hundreds of miles to put out a raging fire at their refinery. It was an expensive and troubled production and had the bad timing of opening the same weekend that Star Wars was released widely across North America, heralding a cultural sea change in Hollywood that swept up his fellow auteurs in the New American Cinema of the seventies. Peter and I compare Sorcerer and The Wages of Fear, the two different ways these films criticize U.S. imperialism, and how Friedkin's misbegotten film eventually got a proper restoration in the 2010s and found a new audience. We also discuss the notorious international cut of Sorcerer, re-titled Wages of Fear and heavily tampered with by the worldwide distributor against the director's wishes. Plus: Peter tells us about the mood in the UK in the wake of the passing of Her Majesty. Patrons of the Junk Filter podcast can access additional exclusive episodes every month: some of our notable previous guests include Jared Yates Sexton, David Roth, Will Sloan, Bryan Quinby and Sooz Kempner. More to come! Sign up at https://www.patreon.com/junkfilter Follow Peter Fishbeast on Twitter and visit his website. Trailer for Le Salaire de la peur (Clouzot, 1953) Trailer for Sorcerer (Friedkin, 1977)
This week we have a special treat for listeners: a conversation with avant-garde filmmaking legends Nathaniel Dorsky and Jerome Hiler, and programmer and Light Industry co-founder Thomas Beard. Thomas, along with Film at Lincoln Center programmer Dan Sullivan, has curated New York, 1962–1964: Underground and Experimental Cinema, an upcoming series spotlighting the rise of what Jonas Mekas described as the "New American Cinema." Opening on July 29, the series takes place in conjunction with related programs at the Jewish Museum and Film Forum. In a wide-ranging conversation about a pivotal moment in American film history, Dorsky—whose Ingreen (1964) screens as part of the FLC series—and Hiler regaled us with anecdotes about their partnership in life and filmmaking, the state of moviegoing and movie-making in the New York of the '60s, and the culture-shifting exploits of Jonas Mekas, Gregory J. Markopoulous, Stan Brakhage, Bruce Connor, and others. We also chatted about Hiler's fascinating in-progress film about medieval stained glass, "Cinema Before 1300," and a new book, Illuminated Hours. Nathaniel Dorsky and Jerome Hiler, which was published in Spanish earlier this year and will be available soon in English.
Filmmaker Peter Fishbeast joins me from Belper in Derbyshire, England to discuss the 1969 George Roy Hill blockbuster Butch Cassidy and the Sundance Kid, aka Dudes Rock: Origins. Butch Cassidy is a great example of the influence the French New Wave had on late sixties Hollywood cinema, as it transitioned towards the New American Cinema of the seventies. It's a western loaded with countercultural appeal and modern sensibilities, powered by an unexpected Burt Bacharach soundtrack that spawned the first No. 1 song of the seventies, "Raindrops Keep Fallin' on My Head". Peter and I talk about the film's enigmatic director George Roy Hill, the magic of Paul Newman and Robert Redford as Dudes Rock avatars, William Goldman's screenplay being perhaps an unfortunate influence on today's quippy soy banter in modern blockbusters, and the film's forgotten prequel. Patrons of the Junk Filter podcast receive at least two additional exclusive episodes a month: some of our notable previous guests include Jared Yates Sexton, David Roth, Bryan Quinby, Will Sloan, Sooz Kempner, and Jacob Bacharach. More to come! Sign up at https://www.patreon.com/junkfilter Follow Peter Fishbeast on Twitter and visit his website. Raindrops Keep Fallin' on My Head - Bobbie Gentry, 1971 Trailer for Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) Trailer for Butch and Sundance: The Early Days (Richard Lester, 1979)
The author and music critic Steven Hyden joins the program from Minneapolis to discuss Paul Newman' and “The Fast (Eddie) Saga”: 1961's The Hustler and Martin Scorsese's only sequel, 1986's The Color of Money. We talk about The Hustler as a bridge between classic Hollywood filmmaking and the New American Cinema of the later 60s, and the great performances (all four main actors were Oscar nominated). This was my first time watching The Color of Money. We discuss Scorsese as a commercial filmmaker, the great pairing of Newman and Tom Cruise, and how this film was a stylistic dry run for the next phase in his career. Plus: Scorsese's masterful use of Phil Collins and Michelob Rock to capture a particular cultural milieu of the 1980s, his musical partnership with Robbie Robertson, and some of our favourite Scorsese needledrops, Patrons of the Junk Filter podcast receive at least two additional exclusive episodes a month: some of our notable previous guests include Jared Yates Sexton, David Roth, Bryan Quinby, Sooz Kempner, and Jacob Bacharach. More to come! Sign up at https://www.patreon.com/junkfilter Follow Steven Hyden on Twitter. Steven's upcoming book, Long Road: Pearl Jam and the Soundtrack of a Generation, is available for pre-order now! Trailer for The Hustler (Robert Rossen, 1961) Trailer for The Color of Money (Martin Scorsese, 1986)
This week on the Film at Lincoln Center podcast, we're featuring a programmer's preview of our Jonas Mekas Retrospective with FLC Jr. Programmer Dan Sullivan, followed by a Q&A from the 59th New York Film Festival with Flee director Jonas Poher Rasmussen, moderated by NYFF Director Eugene Hernandez. Few if any figures in the history of New York City film culture have left as large a mark as that of the Lithuanian filmmaker, critic, and poet Jonas Mekas. Rising to notoriety in the 1950s and '60s as a champion of and mouthpiece for the New American Cinema, he founded and presided over such stalwart fixtures of the underground and avant-garde film scenes as Film Culture magazine, the Filmmakers' Cinematheque, the Film-Makers' Cooperative, and Anthology Film Archives. But he was also one of the 20th century's most vital film artists, a master cine-diarist and something like a present-tense historian who documented the particulars of emigrant life in New York City. Featuring 16mm screenings, our Jonas Mekas Retrospective takes place from February 17th to 23rd. In the Academy Award-nominated Flee, Amin's life has been defined by escape from a young age. Forced to leave his home country of Afghanistan with his mother and siblings after the U.S.-supported mujahideen toppled the government, Amin relocated to Russia as an adolescent, only to take part in a dangerous migration to Western Europe as a teenager to break away from the harsh conditions of post-Soviet living. Now that Amin is planning to marry a man he met in his new homeland, Denmark, he begins to look back over his life, opening up about his past, his trauma, the truth about his family, and his acceptance of his own sexuality. Using animation as both an aesthetic choice and an ethical necessity (to hide Amin's true identity), Jonas Poher Rasmussen's animated documentary is an illuminating and heartrending true story about the importance of personal freedom in all its meanings. Flee, an NYFF59 selection is now streaming.
We're back, grazing on a pair of films about films. We get things underway with a chat about Prano Bailey-Bond's stylised, period tribute to the ‘video nasty' genre, CENSOR (2021) and the state of British cinema. Then, following on from our last episode on the work of Robert Altman, we're sticking with New American Cinema with a look at Brian De Palma's Vilmos Zsigmond-lensed paranoiac political drama, BLOW OUT (1981). With a short cover of Radiohead's ‘Blow Out' for good measure. Subscribe to Film Graze on your podcast app of choice and please leave us a positive rating/review if you enjoy the pod. twitter.com/FilmGraze letterboxd.com/Film_Graze/ instagram.com/film.graze/ Produced by Emmett Cruddas and Sam Storey
Episode 66 concludes our psychotronic trip through acid Westerns (though in this case opium western -if you can mix your substances), Robert Altman’s McCabe & Mrs. Miller. Hot off the heals of the success of M*A*S*H director Robert Altman and reining Hollywood “it” couple, Warren Beatty and Julie Christie set up camp the woods of the Pacific Northwest to create a Western unlike anything before or since. Enhanced by the haunting music of Leonard Cohen, and the innovative and dreamlike cinematography of Vilmos Zsigmond, as well as Altman’s signature overlapping dialog and sound design, McCabe & Mrs. Miller is a masterpiece of atmosphere and texture and one of the crown jewels of the New American Cinema.
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O'Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane's work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse.
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Jonas and I talked about refugees and memory, about ambient noise, poetry, the new film I Had Nowhere To Go, and why he's spent a lifetime ignoring Hollywood. For more information on I Had Nowhere To Go (IMDB) and TIFF. Synopsis Internationally acclaimed multimedia artist Douglas Gordon (24 Hour Psycho, Zidane: A 21st Century Portrait) returns to the Festival with this intimate portrait of avant-garde cinema legend Jonas Mekas. "An adventurer can always return home; an exile cannot. So I decided that culture would be my home." Jonas Mekas Internationally acclaimed multimedia artist Douglas Gordon returns to the Festival with an intimate portrait of Jonas Mekas, the legendary poet, film critic, risk-taking curator, "the godfather of the American avant-garde cinema" -- and, at 93 years old, among the remaining few to have escaped and survived Nazi persecution. I Had Nowhere to Go plunges us into both a collective and individual space of memory via long, imageless stretches over which Mekas narrates, in his inimitable voice, excerpts from his memoir (which lends the film its title). An extraordinary life story emerges as the film zigzags between Mekas' early years in a forced labour camp and a Displaced Person centre during WWII and his arrival in New York as a young Lithuanian émigré. With an immersive sound environment and intermittent, fleeting images that stand in evocative juxtaposition to Mekas' anecdotes, Gordon's film reveals in its subject a puckish humour that outweighs despair, and an unabated zest for life that both illuminates and softens the sadness. A deeply moving tribute from one great artist to another and a singular work in its own right, I Had Nowhere to Go has timely resonance today as mass migratory movements are displacing millions of people throughout the world as refugees, exiles, and stateless persons. While Mekas is certainly no ordinary person, the story he tells is a profoundly humble one, as much about daily survival as it is about aspiring to accomplish so much more. Gordon, who is ingenious at activating memory and the cinematic imaginary, compellingly presents quotidian moments outside of Mekas' famous film-related activities in order to reveal the desires, impulses, melancholy, and perseverance that inform Mekas' filmmaking and infectious love of cinema. Even when truly having nowhere to go, Mekas always saw brief glimpses of beauty as he was moving ahead. Biography Jonas Mekas - Writer Jonas Mekas born December 24, 1922, is a Lithuanian-born American filmmaker, writer, and curator who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals across Europe and America. In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas, were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946-48, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. After his arrival, he borrowed the money to buy his first Bolex 16-mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel's pioneering Cinema 16, and he began screening his own films in 1953 at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street. In 1954, he became editor of Film Culture, and in 1958, began writing his "Movie Journal" column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative (FMC) and the Filmmaker's Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde films. The films and the voluminous collection of photographs and paper documents (mostly from or about avant garde film makers of the 1950-1980 period) were moved from time to time based on Mekas' ability to raise grant money to pay to house the massive collection. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was heavily involved with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas. In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, begin the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works. Mekas' own output ranging from narrative films (Guns of the Trees, 1961) to documentaries (The Brig, 1963) and to "diaries" such as Walden (1969); Lost, Lost, Lost (1975);Reminiscences of a Voyage to Lithuania (1972) and Zefiro torna (1992) have been screened extensively at festivals and museums around the world. In 2001, he released a five-hour long diary film entitled As I Was Moving Ahead. Martin Scorsese said once: "Jonas Mekas is the one that gave me the desire and strength to be a director." Douglas Gordon - Director Douglas Gordon's practice encompasses video and film, installation, sculpture, photography, and text. Through his work, Gordon investigates human conditions like memory and the passage of time, as well as universal dualities such as life and death, good and evil, right and wrong. Gordon's oeuvre has been exhibited globally and his film works have been presented at many competitions, including the Festival de Cannes, the Toronto International Film Festival, and the International Venice Film Festival. Gordon received the 1996 Turner Prize, the Premio 2000 prize for best young artist at the 1997 Venice Biennale, and the 1998 Hugo Boss Prize. Most recently, in May 2008 he was awarded the Roswitha Haftmann Prize by the Kunsthaus Zurich and, in 2012 the KätheKollwitz Prize from the Akademie der Künste, Berlin. Gordon was the International Juror at the 65th International Venice Film Festival, and in 2012 he was the Jury president of CinemaXXI at the 7th International Rome Film Festival. In December 2014 Douglas Gordon and pianist Hélène Grimaud have joined forces to explore the beauty of water in an extraordinary performance at Armory on Park, New York. The collaboration continued when Gordon directed the theatre performance Neck of the Woods starring Charlotte Rampling and Hélène Grimuaud at the 2015 MIF - Manchester International Festival, Manchester. Born in Scotland, Gordon lives and works in Berlin and Glasgow and teaches film at the Städelschule in Frankfurt am Main. He is represented internationally by Gagosian Gallery, as well as Untilthen in Paris, Galerie Eva Presenhuber in Zürich, and Dvir Gallery in Tel Aviv See acast.com/privacy for privacy and opt-out information.
Gregory J. Markopoulos is a key figure in the history of independent film and was, alongside Kenneth Anger, Stan Brakhage, Maya Deren and Andy Warhol, a pioneer of the New American Cinema of the 1960s.
© 2020-2025 Ivy Podcast Discovery LLC
