- Underground film
An underground film is a film that is out of the mainstream either in its style, genre, or financing. The first use of the term "underground film" occurs in a 1957 essay by American
film critic Manny Farber, "Underground Films." Farber uses it to refer to the work of directors who "played an anti-art role in Hollywood." He contrasts "such soldier-cowboy-gangster directors as Raoul Walsh, Howard Hawks, William Wellman," and others with the "less talented De Sicas and Zinnemanns [who] continue to fascinate the critics." [Manny Farber, "Underground Films" (1957), in "Negative Space: Manny Farber on the Movies" (New York: Da Capo, 1998), 12–24; 12.] However, as in "Underground Press", the term developed as a metaphorical reference to a clandestine and subversive culture beneath the legitimate and official media.
In the late 1950s, "underground film" began to be used to describe early
independent filmmakers operating first in San Francisco, Californiaand New York City, New York, and soon in other cities around the world as well, including the London Film-Makers' Co-opin Britain and Ubu Films in Sydney, Australia. The movement was typified by more experimental filmmakers working at the time like Stan Brakhage, Harry Everett Smith, Maya Deren, Andy Warhol, Jonas Mekas, Ken Jacobs, Ron Rice, Jack Smith, George Kuchar, Mike Kuchar, and Bruce Conner.
By the late 1960s, the movement represented by these filmmakers had matured, and some began to distance themselves from the countercultural,
psychedelicconnotations of the word, preferring terms like avant-gardeor experimental to describe their work.
Through 1970s and 1980s, however, "underground film" would still be used to refer to the more countercultural fringe of independent cinema. The term was embraced most emphatically by
Nick Zeddand the other filmmakers associated with the New York based Cinema of Transgressionand No Wave Cinemaof the late 1970s to early 1990s.
In the early 1990s, the legacy of the Cinema of Transgression carried over into a new generation, who would equate "underground cinema" with
transgressive art, ultra-low-budget filmmaking created in defiance of both the commercialized versions of independent filmoffered by newly wealthy distributorslike Miramaxand New Line, as well as the institutionalized experimental film canonized at major museums. This spirit defined the early years of underground film festivals(like the New York Underground Film Festival, Chicago Underground Film Festival, Melbourne Underground Film Festival, Toronto's Images Festival, and others), zineslike Film Threat, as well as the works of filmmakers like Craig Baldwin, Jon Moritsugu, Sarah Jacobsonand Bruce La Bruce. In London the Underground resurgence emerged as a movement of Underground cinema clubs which included the radical open access group the Exploding Cinema.
By the late 1990s and early 2000s, the term had become blurred again, as the work at underground festivals began to blend with more formal experimentation, and the divisions that had been stark ones less than a decade earlier now seemed much less so. If the term is used at all, it connotes a form of very low budget independent filmmaking, with perhaps trangressive content, or a
lo-fianalog to post- punk musicand cultures.
Underground versus cult
The term "underground film" is occasionally used as a synonym for
cult film. Though there are important distinctions between the two, a significant overlap between these categories is undeniable. The films of Kenneth Anger, for example, could arguably be described as underground, experimental and cult. However, a studio film like " Heathers" may have a cultfollowing, but could not be accurately described as an underground film.
*Sheldon Renan, "An introduction to the American underground film", New York : Dutton, 1967
Jack Sargeant"Naked Lens: Beat Cinema" , London : Creation Books, 1997, 1999.
Jack Sargeant"Deathtripping: The Cinema of Transgression" , London : Creation Books, 1995, 2000.
*P Adams Sitney "Visionary Film: The American Avant Garde 1943 - 1978" , Galaxy Books, 1979
*Jack Stevenson "Desperate Visions: Camp America" ; London : Creation Books, 1996
*Duncan Reekie "Subversion: The Definitive History of Underground Cinema " ; London : Wallflower Press 2007.
No Wave Cinema
Cinema of Transgression
Grupo Cine Liberación", an Argentine film movement
No budget film
Chicago Underground Film Festival
New York Underground Film Festival
Lausanne Underground Film and Music Festival
Boston Underground Film Festival
New Haven Underground Film Festival
* [http://www.b-independent.com/ B-Independent.com] A primary networking site for underground filmmakers and fans.
* [http://cinovid.org/ Cinovid] , database for experimental film and video art
* [http://thelastexit.net/cinema The Worldwide Celluloid Massacre]
* [http://luff.ch/site/ Lausanne Underground Film and Music Festival]
* [http://www.cuff.org Chicago Underground Film Festival]
* [http://www.nyuff.com New York Underground Film Festival]
* [http://www.bostonunderground.org/ Boston Underground Film Festival]
* [http://www.nhuff.com/ New Haven Underground Film Festival]
* [http://www.explodingcinema.org/ Exploding Cinema Collective]
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