Underground screenings in 1968 were chaotic and sparsely attended.

Evidence

On October 12, two days before Paradise Now opened at the Brooklyn Academy of Music, Smith arranged for a screening of Kidnapping and Auctioning, now retitled No President, at a West Broadway loft belonging to Japanese artist Taka Iimura. According to EVO cartoonist Baby Jerry, the audience was largely gone by the time Smith showed up ninety minutes late. Hanging around, he transcribed Smith’s explanation: I really want to give this film away, if I could … — J. Hoberman, Everything Is Now, 1390

Categorization

• XREF: connects to: Underground filmmakers in 1968 struggled with rent and chaos. — J. Hoberman, Everything Is Now: The 1960s New York…, 1391; Underground films of the 1960s circulated as mutable, performative events — J. Hoberman, Everything Is Now: The 1960s New York…, 1372; Early underground film audiences were tiny and mostly uncomprehending — J. Hoberman, Everything Is Now: The 1960s New York…, 431 (+2 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Underground filmmakers in 1968 struggled with rent and chaos. — J. Hoberman, Everything Is Now: The 1960s New York…, 1391; Underground films of the 1960s circulated as mutable, performative events — J. Hoberman, Everything Is Now: The 1960s New York…, 1372; Early underground film audiences were tiny and mostly uncomprehending — J. Hoberman, Everything Is Now: The 1960s New York…, 431 (+2 more)

Broader Connections

• Underground film audiences physically and vocally resisted screenings #complicates (0.71) — J. Hoberman, Everything Is Now, 374