12. Going Underground with Manny Farber and Jonas Mekas: New York's Subterranean Film Culture in the 1950s and 1960s

  1. Richard Maltby2,
  2. Daniel Biltereyst3,
  3. Philippe Meers4
  1. Peter Stanfield

Published Online: 20 APR 2011

DOI: 10.1002/9781444396416.ch12

Book Title

Explorations in New Cinema History: Approaches and Case Studies

Explorations in New Cinema History: Approaches and Case Studies

Additional Information

How to Cite

Stanfield, P. (2011) Going Underground with Manny Farber and Jonas Mekas: New York's Subterranean Film Culture in the 1950s and 1960s, in Explorations in New Cinema History: Approaches and Case Studies (eds R. Maltby, D. Biltereyst and P. Meers), Wiley-Blackwell, Oxford, UK. doi: 10.1002/9781444396416.ch12

Editor Information

  1. 2

    Flinders University, South Australia

  2. 3

    Department of Communication Studies, Ghent University, Belgium

  3. 4

    University of Antwerp, Belgium

Author Information

  1. University of Kent, UK

Publication History

  1. Published Online: 20 APR 2011
  2. Published Print: 8 APR 2011

ISBN Information

Print ISBN: 9781405199490

Online ISBN: 9781444396416

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Keywords:

  • going underground with Manny Farber and Jonas Mekas - New York's subterranean film culture;
  • New York's film culture, the ‘underground film’ - shifting, in late 1950s and early 1960s;
  • tracking the move, underground cinema - defined by Manny Farber, to that by film-maker Jonas Mekas;
  • 1939 WPA guide to New York, on Forty-second Street west of Broadway - theaters into movie “grind” houses;
  • The Rialto, at street level - via subway, Manhattan's only truly ‘underground’ cinema;
  • Mayer's sentiments, in Manny Farber's essay ‘Underground Films - A Bit of Male Truth’;
  • trance-like pull of ‘punk movies’ - critic and novelist Meyer Levin, run-of-the-mill films;
  • Greenwich Village's latest boho set - pictures, Casablanca (1942) at Museum of Modern Art;
  • arch-reflexivity and exaggeration - endemic to form of underground film, camp sensibility;
  • European art and American sexploitation cinemas - Mark Betz, ‘thoroughly interdependent informing’ sites of exhibition

Summary

This chapter contains sections titled:

  • References

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