Underground U.S.A.: Filmmaking Beyond The Hollywood Canon
(eBook)

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Published
Columbia University Press, 2003.
Status
Available Online

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Format
eBook
Language
English
ISBN
9780231850025

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Citations

APA Citation, 7th Edition (style guide)

Various Authors., & Various Authors|AUTHOR. (2003). Underground U.S.A.: Filmmaking Beyond The Hollywood Canon . Columbia University Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Various Authors and Various Authors|AUTHOR. 2003. Underground U.S.A.: Filmmaking Beyond The Hollywood Canon. Columbia University Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Various Authors and Various Authors|AUTHOR. Underground U.S.A.: Filmmaking Beyond The Hollywood Canon Columbia University Press, 2003.

MLA Citation, 9th Edition (style guide)

Various Authors, and Various Authors|AUTHOR. Underground U.S.A.: Filmmaking Beyond The Hollywood Canon Columbia University Press, 2003.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work IDe10a1a8b-a8e2-baf7-25fb-c1bdfb1f2744-eng
Full titleunderground u s a filmmaking beyond the hollywood canon
Authorauthors various
Grouping Categorybook
Last Update2023-12-01 18:07:10PM
Last Indexed2024-04-18 06:15:24AM

Book Cover Information

Image Sourcehoopla
First LoadedSep 22, 2023
Last UsedMar 18, 2024

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    [synopsis] => Whether defined by the carnivalesque excesses of Troma studios (The Toxic Avenger), the arthouse erotica of Radley Metzger and Doris Wishman, or the narrative experimentations of Abel Ferrara, Melvin Van Peebles, Jack Smith, or Harmony Korine, underground cinema has achieved an important position within American film culture. Often defined as "cult" and "exploitation" or "alternative" and "independent," the American underground retains separate strategies of production and exhibition from the cinematic mainstream, while its sexual and cinematic representations differ from the traditionally conservative structures of the Hollywood system. Underground U. S. A. offers a fascinating overview of this area of maverick moviemaking by considering the links between the experimental and exploitative traditions of the American underground.
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