Re: N.Y.C. Underground Download Di Film Mp4
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The first printed use of the term "underground film" occurs in a 1957 essay by American film critic Manny Farber, "Underground Films."[1] 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." 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 film makers operating first in San Francisco, California and New York City, New York, and soon in other cities around the world as well, including the London Film-Makers' Co-op in Britain and Ubu Films in Sydney, Australia. The movement was typified by more experimental filmmakers working at the time like Shirley Clarke,[2] Stan Brakhage, Harry Everett Smith, Maya Deren, Andy Warhol,[3] Kenneth Anger,[4] Jonas Mekas, Ken Jacobs, Ron Rice, Jack Smith, George and 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, psychedelic connotations of the word, preferring terms like avant-garde or experimental to describe their work.
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 film offered by newly wealthy distributors like Miramax and 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, Boston Underground Film Festival, Sydney Underground Film Festival,[5] Hamilton Underground Film Festival, Toronto's Images Festival, and others), zines like Film Threat, as well as the works of filmmakers like Craig Baldwin, Jon Moritsugu, Carlos Atanes, Johnny Terris, Sarah Jacobson, and 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 transgressive content, or a lo-fi analog to post-punk music and cultures.
A recent development in underground filmmaking can be observed through the Lower East Side based film production company ASS Studios. Founded in 2011 by writer Reverend Jen and filmmaker Courtney Fathom Sell, the group avoided most modern methods of production, choosing to shoot all of their work on an outdated Hi 8 format and usually with no-budget. Utilizing many New York based performers, their work generally contained camp elements and taboo themes. These films were commonly screened at venues & bars in and around New York City.[6][7]
The term "underground film" is occasionally used as a synonym for cult film (as in the case of films like Eating Raoul).[8] 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[9] while a studio film like Heathers (New World Pictures) may have a cult following, but could not be accurately described as an underground film.[10]
Passes are available to pick up at the box office. Your pass will grant access to one (1) for every film in the series, with exceptions listed on our website where applicable. We recommend arriving at least 15 minutes prior to a screening as late seating cannot be guaranteed. Passes do not give access to any free events or talks.
By the mid-1800s New York City was one of the most crowded places on earth. Each year tens of thousands of new immigrants were arriving, spilling out into the streets and competing with established city dwellers for space. The congested streets and pokey transportation system were a source of constant complaint: "Modern martyrdom may be succintly defined as riding in a New York omnibus," groused one passenger. Another noted, "It would not be decent to carry live hogs thus--and hardly dead ones."
Then, in March 1888, a ferocious blizzard ground the city to a halt. Mountains of snow twenty feet high filled the streets, horse-drawn streetcars and omnibuses lay abandoned, the entire city was paralyzed. The snow left no doubt that New York needed an underground rail system and in 1894, after years of political obstacles, a plan was approved. Construction began in 1900.
The scale of the subway's construction was unprecedented. At least 7,700 men would be needed to build the ambitious twenty-one-mile route with its four tracks--a local and an express train in each direction. Italian and German immigrants, Irish Americans, and African Americans dug and excavated and built the system virtually by hand. To construct the track with a level grade, the workers had to tunnel through mountains of earth, ford underground streams and patches of quicksand, even skirt building foundations. Hundreds of accidents occurred; thousands of workers were injured or disabled. At least forty-four people lost their lives.
Finally, on October 27, 1904, after a day of ceremonies and celebration, the Interborough Rapid Transit--IRT--opened to the public with "indescribable scenes of crowding and confusion," reported The New York Times. More than 100,000 people dressed in their finest clothes went underground that night to "do the subway." There was even a song.
The Underground Film Bulletin issues 1 to 9 were self published by Orion Jeriko aka Nick Zedd (and other aliases) from 1984 to 1990 in NYC. It was the most comprehensive coverage of underground filmmaking in the world, and included articles, interviews and art by and about the Cinema of Transgression (Nick Zedd, R. Kern, Lydia Lunch, Manuel De Landa, Tommy Turner, Lung Leg, Kembra Pfahler, Casandra Stark, etc.) as well as No Wave filmmakers Beth & Scott B, the Vienna Actionists, Jack Smith, Andy Warhol, Jon Spencer, Amos Poe, G.G. Allin and many more.
Robert Breer is one of the few filmmakers who rose to prominence during the 1960s underground film movement who worked exclusively in animation. After graduating from Stanford with a degree in painting in 1949, Breer moved to Paris where he started making films a few years later.
In 1945, Maya Deren was awarded an Honorable Mention for her first film, Meshes of the Afternoon (1943), by the Amateur Cinema League. This film, co-directed with her husband Alexander Hammid, would go on to become one of the most influential avant-garde films of the 20th Century.
While there are dozens of movies that feature the New York CitySubway in some capacity, from long rides to fleeting glimpses, thislist is only including films where the subway plays a major role orgives the viewer a good view of older equipment or disused areas andthe like.
A slightly dated but nonetheless fascinating snapshot of musicalhistory, Beat Street is an urban musical detailing the roots ofhip-hop. Set in early-1980s New York, the film focuses on the lives ofa small group of young people setting their experiences against thelarger backdrop of the city's burgeoning music scene. The story ofup-and-coming DJ Kenny (Guy Davis) and his relationship with jazzmusician Tracy (Rae Dawn Chong) may only be a device, but it'ssurprisingly effective, as is the ultimately tragic tale of graffitiartist Ramon (Jon Chardiet). The movie's real raison d'être, however,is to showcase the sounds of the street, so it's full of some ofhip-hop's most influential names--Melle Mel, Doug E Fresh, Kool MoeDee, the Rocksteady Crew, Jazzy Jeff, and Arthur Baker. And while thecombination of electro and rapping may sound a little crude to modernears, there can be no doubt that Beat Street is the sight and sound ofhistory being made. Amazon.com review
A scene early in the film involves a bomb on a subway train and BruceWillis' character racing against time to disarm it. The action takesplace at "Wall St." station (a Hollywood set). The beginning of DVD Scene 7 shows car R-30 8397 trailingthe train, and it is this car that later decimates the platform. WhenWillis' character finds the bomb, the interior car number can be seen:R-29 8656, and when he throws the bomb off the train, the interior ofthe last car is shown to be R-29 8593, but the exterior scene is an R-30signed up as a "C" (a common error; see the entry for Jacob'sLadder; both the R-10 cars used in that film and the R-30 cars endedtheir service life on the "C" and no one bothered to change thesigns). And last but not least, one of the middle cars on the train isR-30 8408, which was also used in Money Train and Blade(the most famous subway car movie star!)IMDB Lookup.
This Best Picture winner is a early 1970scops-and-robbers film featuring Gene Hackman. Subway scenes include achase scene underneath the West End El in Brooklyn, and a surveillancescene in the Grand Central Shuttle. Trivia: Car #6609 used on the 42ndSt. Shuttle scene. This car is now at the New York Transit Museum andwas also used in Pelham. Also seen in the shuttle was car6671. The West End train is incorrectly marked as an N because theR-42s chosen for the movie didn't have B signs; one of the cars inthis scene is #4572. IMDB Lookup.
Martin Sheen (in his screen debut), as well as asurprisingly good Ed McMahon, are terrorized in 1939 World's FairLow-V's on the Bronx portion of the Third Avenue El. This film has agreat cast all around, with Beau Bridges (also in his film debut),Tony Musante (later of Toma fame), Jack Gilford, Brock Peters amongothers. The movie still rings true in 1999. I believe it was theWoodlawn branch of the IRT. Scenes at Mosholu Pkwy in the Bronx werecommon. It is probably the best subway film for realism ever made. Twothugs terrorize an entire car of passengers, and 80 percent of themovie takes place on the subway itself. Certainly a more believablestory line than Pelham, as it is less complicated to buy intoand probably has happened numerous times in the NY subway system overthe years to varying degrees for real. It says a lot for the humancondition, people's apathy or involvement levels and how easy it is tobe at the wrong place, at the wrong time.IMDB Lookup.
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