Midnight Movies
From The Art and Popular Culture Encyclopedia
| Revision as of 16:20, 9 May 2007 WikiSysop (Talk | contribs) ← Previous diff |
Revision as of 12:37, 3 July 2019 Jahsonic (Talk | contribs) Next diff → |
||
| Line 1: | Line 1: | ||
| + | {| class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 40%;" cellspacing="5" | ||
| + | | style="text-align: left;" | | ||
| + | "'''''The Cabinet of Dr. Caligari''''', "the [[cult film]] par excellence," which ran continuously at the same Paris movie house from [[1920]] through [[1927]]."--''[[Midnight Movies]]'' (1983), page 23 | ||
| + | <hr> | ||
| + | "Above all else, the surrealists insisted that the relationship between film and spectator was primarily [[libidinal]]. That [[Paul Éluard]] discovered ''[[Peter Ibbetson]]'' (a 1935 Hollywood film that Breton considered comparable only to Luis Buñuel's ''[[L'Âge d'or]]'' in its depiction of [[amour fou|L'Amour fou]]) by impulsively trailing an attractive woman into a movie theater was seen as ultimate proof." --''[[Midnight Movies]]'' (1983), page 36 | ||
| + | <hr> | ||
| + | "If the [[origins of art]] are to be found in [[religious art|religion]], the movies are surely the universal [[secular faith]] of the twentieth century." --''[[Midnight Movies]]'' (1983), page 15 | ||
| + | <hr> | ||
| + | "Every feast, even when it has purely lay origins, has certain characteristics of the religious ceremony, for in every case its effect is to bring men together, to put the masses into movement and thus to excite a state of [[evanescence]], and sometimes even [[delirium]], which is not without a certain kinship with the religious state. A man is carried outside himself and diverted from his ordinary occupations and preoccupations. Thus the same manifestations are to be observed in each case: cries, songs, music, violent movements, dances, the search for stimulants which raise the vital level, etc. It has frequently been remarked that popular feasts lead to excesses, and cause men to lose sight of the distinction separating the licit from the [[illicit]] ..." ''[[The Elementary Forms of the Religious Life ]]'' (1912), Émile Durkheim | ||
| + | |} | ||
| {{Template}} | {{Template}} | ||
| - | :'''''The Cabinet of Dr. Caligari''''', "the [[cult film]] par excellence," which ran continuously at the same Paris movie house from [[1920]] through [[1927]]. --''[[Midnight Movies]]'' (1983). page 23. | + | |
| - | The term '''midnight movie''' is rooted in the practice that emerged in the 1950s of local television stations around the United States airing low-budget genre films as late-night programming, often with a host delivering ironic asides. As a cinematic phenomenon, the midnight screening of offbeat movies began in the early 1970s in a few urban centers, particularly New York City, eventually spreading across the country. The screening of nonmainstream pictures at midnight was aimed at building a [[cult film]] audience, encouraging repeat viewing and social interaction in what was originally a [[counterculture|countercultural]] setting. The national success of ''[[The Rocky Horror Picture Show]]'' and the changing economics of the film exhibition industry altered the nature of the midnight movie phenomenon; as its association with broader trends of cultural and political opposition dwindled in the 1980s, the midnight movie became a more purely [[camp (style)|camp]] experience—in effect, bringing it closer to the television form that shares its name. The term ''midnight movie'' is now often used in two different, though related, ways: as a synonym for ''[[B movie]]'', reflecting the relative cheapness characteristic of late-night movies both theatrically and on TV, and as a synonym for ''cult film''.[http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [May 2007] | + | '''''Midnight Movies''''' (1983) is a [[film history]] book by American film critics [[J. Hoberman]] and [[Jonathan Rosenbaum]]. The collection of essays documents the [[midnight movie]] phenomenon (films unfit for mainstream consumption so they are shown at midnight). It also documents the earliest cases of film cults in Paris and the United States. |
| + | |||
| + | The book includes chapters on the early careers of [[David Lynch]], [[Alejandro Jodorowsky]], [[John Waters]] and [[George Romero]] and references [[Émile Durkheim]] and [[Parker Tyler]] in the second chapter ''Cults, Fetishes and Freaks: Sex and Salvation at the Movies''. | ||
| + | ==Table of contents== | ||
| + | Author's note -- Acknowledgments -- 1: Birth of Rocky Horror -- 2: Cults, fetishes, and freaks: sex and salvation at the movies -- 3: Underground -- 4: El Topo: through the wasteland of the counterculture -- 5: George Romero and the return of the repressed -- 6: John Waters presents "The Filthiest People Alive" -- 7: Rocky Horror madness -- 8: Eraserhead -- 9: Rock, drugs, drag, camp, punk, gore, and agit-prop -- 10: Rethinking midnight movies: a dialogue -- Afterword -- Bibliography -- Index. | ||
| + | ==See also== | ||
| + | *[[Cult film]]s | ||
| + | |||
| + | ==Sources== | ||
| + | *Hoberman, J., and Jonathan Rosenbaum (1983). ''[[Midnight Movies]]'' (New York: Da Capo Press). ISBN 0-306-80433-6 | ||
| + | {{GFDL}} | ||
Revision as of 12:37, 3 July 2019
|
"The Cabinet of Dr. Caligari, "the cult film par excellence," which ran continuously at the same Paris movie house from 1920 through 1927."--Midnight Movies (1983), page 23 "Above all else, the surrealists insisted that the relationship between film and spectator was primarily libidinal. That Paul Éluard discovered Peter Ibbetson (a 1935 Hollywood film that Breton considered comparable only to Luis Buñuel's L'Âge d'or in its depiction of L'Amour fou) by impulsively trailing an attractive woman into a movie theater was seen as ultimate proof." --Midnight Movies (1983), page 36 "If the origins of art are to be found in religion, the movies are surely the universal secular faith of the twentieth century." --Midnight Movies (1983), page 15 "Every feast, even when it has purely lay origins, has certain characteristics of the religious ceremony, for in every case its effect is to bring men together, to put the masses into movement and thus to excite a state of evanescence, and sometimes even delirium, which is not without a certain kinship with the religious state. A man is carried outside himself and diverted from his ordinary occupations and preoccupations. Thus the same manifestations are to be observed in each case: cries, songs, music, violent movements, dances, the search for stimulants which raise the vital level, etc. It has frequently been remarked that popular feasts lead to excesses, and cause men to lose sight of the distinction separating the licit from the illicit ..." The Elementary Forms of the Religious Life (1912), Émile Durkheim |
|
Related e |
|
Featured: |
Midnight Movies (1983) is a film history book by American film critics J. Hoberman and Jonathan Rosenbaum. The collection of essays documents the midnight movie phenomenon (films unfit for mainstream consumption so they are shown at midnight). It also documents the earliest cases of film cults in Paris and the United States.
The book includes chapters on the early careers of David Lynch, Alejandro Jodorowsky, John Waters and George Romero and references Émile Durkheim and Parker Tyler in the second chapter Cults, Fetishes and Freaks: Sex and Salvation at the Movies.
Table of contents
Author's note -- Acknowledgments -- 1: Birth of Rocky Horror -- 2: Cults, fetishes, and freaks: sex and salvation at the movies -- 3: Underground -- 4: El Topo: through the wasteland of the counterculture -- 5: George Romero and the return of the repressed -- 6: John Waters presents "The Filthiest People Alive" -- 7: Rocky Horror madness -- 8: Eraserhead -- 9: Rock, drugs, drag, camp, punk, gore, and agit-prop -- 10: Rethinking midnight movies: a dialogue -- Afterword -- Bibliography -- Index.
See also
Sources
- Hoberman, J., and Jonathan Rosenbaum (1983). Midnight Movies (New York: Da Capo Press). ISBN 0-306-80433-6
