Underground 1960s cinema deliberately courted technical failure and raw realness

Evidence

As moviemaking, it is raw and profligate. The film runs out, the camera jams, mikes go dead, actors get upset, but the movie just keeps grinding on, bad sound and all. Actors work on a scene of accusation and denial, developing what appears to be a genuine mutual antipathy. The performances are self-reflexive. The male protagonist’s role is all about role-playing; his female counterpart is called upon to make a scene. — J. Hoberman, Everything Is Now, 1266

Categorization

• XREF: connects to: Postmodern films are flawless simulacra lacking cinema’s constitutive hallucination. — Jean Baudrillard, Simulacra and Simulation, 162; Cinema’s image-reduction for commercial purposes blocks genuinely revolutionary film — David Harvey, The Condition of Postmodernity: An…, 2039; Underground films of the 1960s circulated as mutable, performative events — J. Hoberman, Everything Is Now: The 1960s New York…, 1372 (+5 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Postmodern films are flawless simulacra lacking cinema’s constitutive hallucination. — Jean Baudrillard, Simulacra and Simulation, 162; Cinema’s image-reduction for commercial purposes blocks genuinely revolutionary film — David Harvey, The Condition of Postmodernity: An…, 2039; Underground films of the 1960s circulated as mutable, performative events — J. Hoberman, Everything Is Now: The 1960s New York…, 1372 (+5 more)