Underground Film Journal

Stan Brakhage

Articles:

Canyon Cinema Cooperative: Catalogue No. 2, Supplement No. 1
In 1966, after six years of existence, the Canyon Cinema experimental film collective of San Francisco, California started its own cooperative distribution center, first listing films in the November ’66 issue of their News newsletter, in which they stated that they would be following in the footsteps of New York City’s Film-Makers’ Cooperative that had
Film-Makers’ Cooperative: The First Films
In a letter dated June 1, 1962, the newly formed Film-Makers’ Cooperative offered their first list of films that were available to rent. Fourteen filmmakers were represented. The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The
Idiolects #1 (June to August 1976)
In 1976, a crudely published fanzine devoted to the experimental film scene made its debut. It was called Idiolects and the first issue offered a definition of its name: “An idiolect is the language of an individual at a particular time.” That definition certainly could be applied to both the filmmakers covered in the zine
Robert Beck Memorial Cinema: 1998 Screenings
This is Part Two in a series of articles on the Robert Beck Memorial Cinema (RBMC). As detailed in Part One, the RBMC was an experimental film screening series in New York City, started by filmmaker Brian L. Frye. Frye programmed the first screening on May 12, 1998 at the Collective Unconscious theater space. The
Experimental Film Coalition: The Monthly Screenings
This is Part Two in a series about Chicago’s Experimental Film Coalition; and covers their screening series. Formed in 1983, the Experimental Film Coalition started holding regular monthly screenings starting in 1984. The screenings brought to Chicago the work of independent, experimental filmmakers across the country, as well as screening local work.
A Look Back: The American New Wave 1958-1967
In 1983, the Walker Art Center in Minneapolis, Minnesota, along with Media Study/Buffalo, created a touring retrospective of avant-garde films, primarily feature-length ones and a few shorts, which they called “The American New Wave 1958-1967.” To accompany the tour, a hefty catalog was produced that included notes on the films, essays by film historians and
EXPRMNTL 3: 1963 Recap
1963 was a pivotal year in the history of avant-garde film in the United States. In Visionary Film, P. Adams Sitney calls it “the high point of the mythopoeic development within the American avant-garde.” He explains: [Stan] Brakhage had finished and was exhibiting the first two sections of Dog Star Man by then; Jack Smith