2-22

1. What were some of the venues associated with the early underground film movement in New York City? What were some of the unique characteristics of the Charles Theater and its programming? Cinema 16, The Charles, The Thalia, NewYorker, The Bleecker Street Cinema. The Charles offered a larger variety of movies. Musicals, neorealist films, Silent films, Ukranian films, then experimental on the weekend.

2. Which filmmakers did Jonas Mekas associate with the “Baudelairean Cinema”? Why did Mekas use that term, and what were the distinguishing characteristics of the films? Rice, Jacobs, and Smith. He used the term to compare these filmmakers to Baudelaire, being that the characteristics of their films are that they bring a new experience to cinema. They are both terrible and beautiful, good and evil. Something for the social outcasts to love.

3. Why did underground films run into legal trouble in New York City in 1964? What film encountered legal problems in Los Angeles almost on the same day as Mekas’s second arrest in New York City? They didn't get licence's from New York, so legally they couldn't show them for profit. They tried to get away with it by asking for donations. Then the world Fair came, and New York decided to clean up its act, so the police tried to shut down the "obscene" screenings. Scorpio Rising.

4. What were some of the defining characteristics of Andy Warhol’s collaboration with Ronald Tavel? What were some of the unique characteristics of Vinyl? How does Edie Sedgewick end up "stealing" the scene in Vinyl? One camera setup, quickly and cheaply made, Actors came and went. Vinyl is kind of an adaptation of A Clockwork Orange, but only a bare bones one at that. The film is a single setup, static shot, black and white film. Edie Sedgewick was originally supposed to just balance the composition of the shot, but she ends up "stealing" the scene with her attractive eyes and by flicking her ashes on the boy being tortured.

5. In what ways did the underground film begin to "crossover" into the mainstream in 1965-1966? What films and venues were associated with the crossover? How were the films received by the mainstream New York press? Chelsea Girls moved to more mainstream theatres, and was exhibited in many cities in the Us. Newsweek called Chelsea Girls "The Illiad of the underground", while the New York Times critic claimed it went to far.

6. Why was Mike Getz an important figure in the crossover of the underground? He packaged underground films and sent them to places that hadn't been introduced to this type of cinema before.

7. How do Hoberman and Rosenbaum characterize Warhol’s post-1967 films? Nudity based pictures that cashed in on Chelsea Girls.