فصل الطليعيون ، رحلة العمل السري ٢-a .. كتاب فهم السينما

The 1960s was an era of political instability and civil protest, and a number of underground films reflected the 1960s, often in satirical fashion. The movie Oh (Dam Watermelon) - Those Rags by Robert Nelson is a clever joke about racial stereotypes of Negroes. Raqqa is a racial symbol for blacks in the movie. We see in the film, accompanied by a performance by a folk band, this Raqqa kicks, crushes, scatters and even seduces. Stan Vanderbeek is perhaps the most political critic Satirical and influential in this period, and his film “Assemblies” is filled with black humor and moody disrespect (9-22). Films such as Skullduffery (Part One and Part Two) present cartoons from magazines, film clips of politicians, and all kinds of heterogeneous images That emphasizes the madness of American life in The Summit, a parody of a Khrushchev-Canadian meeting, where Vanderbeek moves the actors to make them appear as moving machines. The movie (Death by Asphyxiation) is an anti-war film that presents, among many things, a shot of Richard Nixon coming out of his mouth forward.

Sex is perhaps the most common theme in underground cinema. With the relaxation of public censorship during the 1960s, many commercial film directors also began to explore the complexities of human sexuality. Thus, avant-garde cinema was stripped of one of its traditional privileges (9 - 23). Underground cinematographers responded by focusing on sexual perversions, in other words, those aspects of sexuality.
Which is considered abnormal by the majority of the middle class, and among the topics that were common is sexual deviation towards males, and sex parties in particular.

A classic example of this type of film is Jack Smith's ballad of polygamy in his film Flaming Creatures, which is still banned in New York State. This film will be a glorification of homosexuality and diabolical hedonism. There is an undercurrent of despair in the film that perhaps reflects the despair of those who cannot return to the normal world.The film presents almost every kind of sex.Sadism, masochism, gang rape, masturbation, oral sex and even sex with vampires.Forearms and legs wriggle like snakes in A pit boils and the top of the frame cuts through many heads of vibrating, twisting bodies.Most of the time we cannot discern the sex of the persons until their bodies enter the frame and their private parts protrude.There is a ritual feature in these frantic activities, a kind of black mass in which the celebrants are completely lost in a trance of sexual emptiness. The soundtrack creaks and whistles with animal sounds, fake Latin American romances, rock ballads, and an annoying jumble of tasteless commercial tunes.

An interest in satanic rituals and sexual practices characterizes the work of Kenneth Anker, whose films are evocations of black magic. His best-known work is Rise of the Snake, a heroic, satirical celebration of male narcissism (9-24). Anker intersects with a Dadaist twist to shots of the "group leader" and his gang with clips from a movie scene depicting Christ and his disciples and pictures of Hitler and his fanatical followers. Then we see pictures of the heroes of different categories, such as James Dean and Marlon Brando, which are shown next to comic figures and Nazi slogans. A motorcycle race intersects with a scene that shows us Christ enters Jerusalem on a donkey. A Nazi hysteria about Hitler is then portrayed as an unconscious death wish that finds a parallel in the story of Christ and his disciples and in the sexual rituals associated with the group leader and his entourage. The film (The Rising of the Scorpion) is accompanied by a loud soundtrack of rock songs of that period.

Ritual and myth have always played a dominant role in avant-garde cinema, and in the early 1960s these concerns became even more important in films such as Dog Star Man, Bruce Bailey's Mass, and the works of Gregory Marco Pulis, who chose most of his subjects from classical Greek mythology.
Marco Pulis' themes mostly revolve around perverted love towards sex, which is. Masculine in the case of his movie "The Illiac Passion" and feminine in "Psyche". Marco Polis has produced since 1948 a film entitled (Lysis) based on a Platonic dialogue about friendship. The film montage is amazing, like most of his works, jumping from the past to the future to the present with quiet boldness.

One of the greatest filmmakers affected by the legend is Jordan Bilson, whose works do not follow the line of traditional abstraction of impressionist cinema except in a superficial way. Mystical near-trance hallucinations Bilson is a master special effects technician, and his film Seduction (1964) may have been inspired by a clip from Stanley Kubrick's (2001) A Space Odyssey titled "Beyond Jupiter." Most observers agree that Bilson's work does not precede Kubrick's famous flight scene is historically but artistically superior: the cosmic gases and formations that run in Bilson's film are more powerful in their metaphysical effect and more mystical in their power, partly because they seem less mechanical in their action than Kubrick's Jupiter segment.

The film (Reentry) is generally considered Bilson's masterpiece. The film originally inspired John Klein's historical penetration into the depths of space, and the film is densely symbolic and mythical, although it can be considered an abstract film in search. Bilson used some of Young's psychological theories to build his film.The three stages of space travel—launch, penetration, and return—symbolize the three mystical states—death, attachment to the cosmic void, and rebirth.The vocal tract is mostly electronically synthesized and made up of eerie sets of vibrations.He also inserted into the duct The vocal is some of Klein's own recordings