Open Culture Picks Our 10 Avant-Garde Favorites on Ubuweb: Joyce, Borges, Sontag, Wittgenstein & More

samuelbeckett-ubuweb

If you know about Open Cul­ture, sure­ly you know about Ubuweb. If you don’t, its slo­gan says almost every­thing you need to know about it: “All Avant-Garde. All the Time.” This vast online repos­i­to­ry of cut­ting-edge cul­tur­al arti­facts from a vari­ety of eras also adheres stead­fast­ly to the prin­ci­ple of keep­ing all of its mate­r­i­al free: free in the sense of charg­ing you noth­ing to read, hear or view it, and free in the sense that you can do what­ev­er you want with it. Need­less to say, the site, found­ed by poet Ken­neth Gold­smith in 1996, has made many fans, and Ubuweb itself has tapped quite a few of the high­er-pro­file ones to curate top ten lists. Assem­bled by peo­ple like New York­er music crit­ic Alex Ross, nov­el­ists Hari Kun­zru and Rick Moodyalter­na-pop star Nick “Momus” Cur­rie, these help the poten­tial­ly (and under­stand­ably) bewil­dered find their way through the trove of Ubuwe­b’s media, which is uni­ver­sal­ly influ­en­tial and van­ish­ing­ly obscure, vis­cer­al­ly trans­gres­sive and ver­tig­i­nous­ly intel­lec­tu­al, eter­nal­ly excit­ing and delib­er­ate­ly bor­ing.

This month, Ubuweb called upon our fear­less edi­tor here at Open Cul­ture for a top ten list. Most of the picks have been pre­vi­ous­ly fea­tured on OC. The list runs as fol­lows:

1. Finnegans Wake (1939), Read by Patrick Healy
Open Cul­ture: Hear All of Finnegans Wake Read Aloud: A 35 Hour Read­ing

“The sheer plea­sure one can derive — con­ven­tion­al expec­ta­tions duly set aside — from the almost tac­tile qual­i­ty of Joyce’s prose, its earthy, ancient, elven sounds, seems more to the point of appre­ci­at­ing this odd, frus­trat­ing work. Per­haps, like any well-writ­ten poem, one sim­ply needs to hear it read aloud. Joyce him­self said so, and so you can.”

2. The Craft of Verse: Jorge Luis Borges’ Nor­ton Lec­tures, 1967–68
Open Cul­ture: Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

“Near­ing both 70 years of age and total blind­ness, Borges nonethe­less gives a vir­tu­osi­cal­ly wide-rang­ing series of talks, freely reach­ing across forms, coun­tries, eras, and lan­guages with­out the aid of notes. Enti­tled ‘This Craft of Verse,’ these lec­tures osten­si­bly deal with poet­ry. Alas, like many lit­er­ary geeks, I know too lit­tle of poet­ry, but if Borges can’t moti­vate you to learn more, who can?”

3. Three Rare Films by Susan Son­tag
Open Cul­ture: The Film­mak­ing of Susan Son­tag & Her 50 Favorite Films (1977)

“Son­tag, they say, ‘sought to lib­er­ate art from inter­pre­ta­tion (which is a bit iron­ic, of course, for some­one who was essen­tial­ly an exalt­ed crit­ic). When it came to her own film, she made some­thing that intend­ed to delib­er­ate­ly con­found the notion that there was any sort of under­ly­ing mean­ing beyond exact­ly what the audi­ence was see­ing on the screen direct­ly in front of them.’ ”

4.  M.A. Num­mi­nen Sings Wittgen­stein (1983 / 1989)
Open Cul­ture: Lud­wig Wittgenstein’s Trac­ta­tus Gets Adapt­ed Into an Avant-Garde Com­ic Opera

“Giv­en the Trac­ta­tus’s fire­bomb­ing of an entire area of human endeav­or, it’s no sur­prise it hasn’t fared well in many tra­di­tion­al depart­ments, but that hasn’t stopped Wittgenstein’s work from find­ing pur­chase else­where, influ­enc­ing mod­ern artists like Jasper Johns, the Coen Broth­ers, and, not least sure­ly, Finnish avant garde com­pos­er and musi­cian M.A. Num­mi­nen. This odd char­ac­ter, who caused a stir in the 60s by set­ting sex guides to music, took it upon him­self to do the same for many of the Trac­ta­tus’s propo­si­tions, and the results are, well…. Lis­ten for your­self.”

5. Aldous Huxley’s Vision­ary Expe­ri­ence
Open Cul­ture: Aldous Hux­ley, Psy­che­delics Enthu­si­ast, Lec­tures About “the Vision­ary Expe­ri­ence” at MIT (1962)

“Hux­ley had already gained world­wide fame for his views on bet­ter liv­ing, which was some­times achieved, he believed, through psy­che­del­ic drugs. This might have already sound­ed like old hat in, say, the San Fran­cis­co of the late 1960s, let alone the 70s and onward, but in these record­ings Hux­ley says his piece in — I still can’t quite believe it — the MIT of the ear­ly 1960s. But diag­nosed a cou­ple years before with the can­cer that would claim his life the next, he had noth­ing to lose by spread­ing the word of his sub­stance-induced dis­cov­er­ies.”

6. Jacques Derrida’s Inter­view with Ornette Cole­man [PDF]
Open Cul­ture: Philoso­pher Jacques Der­ri­da Inter­views Jazz Leg­end Ornette Cole­man: Talk Impro­vi­sa­tion, Lan­guage & Racism (1997)

“Trans­lat­ing Coleman’s tech­nique into ‘a domain that I know bet­ter, that of writ­ten lan­guage,’ Der­ri­da ven­tures to com­pare impro­vi­sa­tion to read­ing, since it ‘doesn’t exclude the pre-writ­ten frame­work that makes it pos­si­ble.’ For him, the exis­tence of a framework—a writ­ten composition—even if only loose­ly ref­er­enced in a jazz per­for­mance, ‘com­pro­mis­es or com­pli­cates the con­cept of impro­vi­sa­tion.’ ”

7. Joey Ramone Sings a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake: “The Won­der­ful Wid­ow of Eigh­teen Springs,”
Open Cul­ture: Hear Joey Ramone Sing a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake

“Ramone’s inter­pre­ta­tion of the piece is enthralling sim­ply as a piece of record­ed music.  But it’s also a fas­ci­nat­ing piece of cul­tur­al his­to­ry, rep­re­sent­ing a con­flu­ence of the fore­most fig­ures in ear­ly twen­ti­eth cen­tu­ry mod­ernist lit­er­a­ture, mid-cen­tu­ry avant-garde music, and late cen­tu­ry punk rock.”

8. The Avant-Garde Project
Open Cul­ture: The Avant-Garde Project: An Archive of Music by 200 Cut­ting-Edge Com­posers, Includ­ing Stravin­sky, Schoen­berg, Cage & More

“Every sphere of record­ed music has its crate-dig­gers, those hap­py to flip through hun­dreds — nay, hun­dreds of thou­sands — of obscure, for­got­ten vinyl albums in search of their subgenre’s even obscur­er, more for­got­ten gems. This holds espe­cial­ly true, if not in num­ber than in avid­i­ty, for enthu­si­asts of the 20th-cen­tu­ry clas­si­cal-exper­i­men­tal-elec­troa­coustic tra­di­tion that The Avant-Garde Project takes as its preser­va­tion man­date.”

9. Alice Tok­las Reads Her Hashish Fudge Recipe
Open Cul­ture: Alice B. Tok­las Reads Her Famous Recipe for Hashish Fudge (1963)

“In this 1963 record­ing from Paci­fi­ca Radio, Tok­las reads her noto­ri­ous recipe. The snack ‘might pro­vide an enter­tain­ing refresh­ment for a Ladies’ Bridge Club or a chap­ter meet­ing of the DAR,’ Tok­las notes in her reedy, dig­ni­fied voice.”

10. Jean Bau­drillard Sings!
Open Cul­ture: Jean Bau­drillard Reads His Poet­ry, Backed By All-Star Arts Band (1996)

“Known to hip aca­d­e­m­ic types and avant-garde-ists, Bau­drillard’s maybe the kind of thinker who gets name-dropped more than read (and he’s no easy read). But in the audio clip above, he reads to us, from his poet­ry no less, while backed by the swirling abstract sounds of The Chance Band. It’s an odd, one-time, assem­blage of artists and thinkers Ubuweb describes as ‘unbe­liev­able but true!’ ”

If you’ve already seen every­thing on it, con­grat­u­la­tions: you can con­sid­er your­self a true, shall we say, OC OG.

Relat­ed Con­tent:

Avant-Garde Media: The UbuWeb Col­lec­tion

Exten­sive Archive of Avant-Garde & Mod­ernist Mag­a­zines (1890–1939) Now Avail­able Online

Take a Vir­tu­al Tour of the 1913 Exhi­bi­tion That Intro­duced Avant-Garde Art to Amer­i­ca

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Eyes of Hitchcock: A Mesmerizing Video Essay on the Expressive Power of Eyes in Hitchcock’s Films

Kog­o­na­da has made a career of pro­duc­ing ele­gant­ly con­ceived video essays that dis­sect the styl­is­tic eccen­tric­i­ties of cinema’s great­est for­mal­ists. In one video, he neat­ly illus­trat­ed Wes Anderson’s love of sym­met­ri­cal com­po­si­tions. In anoth­er, he observed how fre­quent­ly Japan­ese mas­ter Yasu­jiro Ozu, a direc­tor with more styl­is­tic quirks than just about any­one else, pop­u­lat­ed his movies with shots of cor­ri­dors and door­ways. And, in per­haps his best, Kog­o­na­da shows just how often Stan­ley Kubrick relies on one-point per­spec­tive. Kogonada’s lat­est video, called The Eyes of Hitch­cock, explores how the direc­tor used facial expres­sions to con­vey sus­pense and fear. You can watch it above.

Alfred Hitch­cock once said, “There is no ter­ror in the bang, only in the antic­i­pa­tion of it.” This is a guy who direct­ed the great­est slash­er scene in movie his­to­ry – the show­er scene in Psy­cho — but famous­ly nev­er showed Nor­man Bates’s knife actu­al­ly stab­bing his vic­tim, Mar­i­on Crane. The hor­ror of the scene was con­veyed through actress Janet Leigh’s shocked expres­sion. Though direc­tors have always under­stood the pow­er of the face, Hitch­cock con­sis­tent­ly used facial expres­sions to car­ry a movie’s sus­pense. A person’s face relates pri­mal emo­tions much more effi­cient­ly than shots just of knives, guns or explo­sions. (Michael Bay, take note.)

For this video, Kog­o­na­da strings togeth­er expres­sions from Hitchcock’s vast oeu­vre, from Jim­my Stewart’s wild-eyed baby blues wak­ing up from a night­mare in Ver­ti­go, to Ingrid Bergman’s tear­ful, anx­ious look in Noto­ri­ous, to Nor­man Bates’s bat shit crazy death stare in Psy­cho. Hitch tend­ed to frame these moments in extreme close up with the eyes right in the mid­dle of the frame. Kog­o­na­da rolls back and forth on a cou­ple frames of these moments, giv­ing the video an oth­er­world­ly shim­mer, timed per­fect­ly with the music. It’s com­plete­ly mes­mer­iz­ing.

If you have a han­ker­ing to watch com­plete movies by the mas­ter, check out Open Culture’s list of 23 Hitch­cock Films. You can watch them right now, online, for free.

Relat­ed Con­tent:

Alfred Hitchcock’s Sev­en-Minute Edit­ing Mas­ter Class

Lis­ten to François Truffaut’s Big, 12-Hour Inter­view with Alfred Hitch­cock (1962)

The Per­fect Sym­me­try of Wes Anderson’s Movies

Sig­na­ture Shots from the Films of Stan­ley Kubrick: One-Point Per­spec­tive

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly.  The Veep­to­pus store is here.

Martin Scorsese’s New Documentary on The New York Review of Books Airs Tonight on HBO

A quick note: Tonight, HBO will air the pre­miere of The 50 Year Argu­ment. That’s Mar­tin Scors­ese’s new doc­u­men­tary about the influ­en­tial lit­er­ary and aca­d­e­m­ic jour­nal, The New York Review of Books.

Writes The New York Times: “Robert Sil­vers has assigned thou­sands of pieces for The New York Review of Books, so why not a doc­u­men­tary film? “The 50 Year Argu­ment” … orig­i­nat­ed along the same lines as one of the lengthy, learned arti­cles in The Review: Mr. Sil­vers sought out a tal­ent­ed essay­ist, in this case Mar­tin Scors­ese, and asked him to explore a sub­ject — the magazine’s 50-year his­to­ry — that he was pas­sion­ate about but not expert in.” The result is a “tex­tured and smart but thor­ough­ly cel­e­bra­to­ry, a paean to the mag­a­zine and the amaz­ing­ly durable Mr. Sil­vers, now 84.”

Regret­tably, the film isn’t avail­able online. But you can watch the trail­er above and then a long Q&A about the film. Record­ed in Berlin ear­li­er this year, the Q&A fea­tures Scors­ese on the stage, along with David Tedeschi (his co-direc­tor), NYRB edi­tor Robert Sil­vers, pub­lish­er Rea Hed­er­man, and con­trib­u­tor Michael Green­berg.

We have many oth­er heady doc­u­men­taries (where else?) on our list of 200 Free Doc­u­men­taries Online.

Relat­ed Con­tent:

Mar­tin Scors­ese Reveals His 12 Favorite Movies

Longform’s New, Free App Lets You Read Great Jour­nal­ism from Your Favorite Pub­lish­ers (includ­ing The New York Review of Books)

Revis­it Mar­tin Scorsese’s Hand-Drawn Sto­ry­boards for Taxi Dri­ver

Mar­tin Scorsese’s Very First Films: Three Imag­i­na­tive Short Works

Steven Soderbergh Creates Silent, Black & White Recut of Raiders of the Lost Ark to Explain the Art of “Staging”

raiders silent

Since offi­cial­ly retir­ing from film­mak­ing last year, Steven Soder­bergh has filled his time writ­ing Twit­ter novel­las, cre­at­ing mashups of Alfred Hitch­cock and Gus Van Sant Psy­cho films, and post­ing a log of all the films, TV shows and books he immersed him­self in in 2009.

Now comes his lat­est side project: On his web site, extension765.com, Soder­bergh presents a short les­son in “stag­ing,” a term that refers in cin­e­ma “to how all the var­i­ous ele­ments of a giv­en scene or piece are aligned, arranged, and coor­di­nat­ed.” He tells us: “I oper­ate under the the­o­ry a movie should work with the sound off, and under that the­o­ry, stag­ing becomes para­mount.”

To illus­trate his point, he takes the entire­ty of Steven Spiel­berg’s 1981 film, The Raiders of the Lost Ark; turns it into a silent, black & white film (watch it here); and then adds this com­men­tary:

So I want you to watch this movie and think only about stag­ing, how the shots are built and laid out, what the rules of move­ment are, what the cut­ting pat­terns are. See if you can repro­duce the thought process that result­ed in these choic­es by ask­ing your­self: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actu­al­ly is. To me. Oh, and I’ve removed all sound and col­or from the film, apart from a score designed to aid you in your quest to just study the visu­al stag­ing aspect. Wait, WHAT? HOW COULD YOU DO THIS? Well, I’m not say­ing I’m like, ALLOWED to do this, I’m just say­ing this is what I do when I try to learn about stag­ing, and this film­mak­er for­got more about stag­ing by the time he made his first fea­ture than I know to this day (for exam­ple, no mat­ter how fast the cuts come, you always know exact­ly where you are—that’s high lev­el visu­al math shit).

Ok, that’s prob­a­bly enough film school for today…

via Metafil­ter

Relat­ed Con­tent:

Alfred Hitchcock’s Sev­en-Minute Edit­ing Mas­ter Class

Wern­er Herzog’s Rogue Film School: Apply & Learn the Art of Gueril­la Film­mak­ing & Lock-Pick­ing

Spike Lee Shares His NYU Teach­ing List of 87 Essen­tial Films Every Aspir­ing Direc­tor Should See

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How to Jump the Paris Metro: A Witty, Rebellious Primer from New Wave Director Luc Moullet (1984)

Luc Moul­let, a French New Wave film­mak­er and long-time crit­ic for the Cahiers du ciné­ma, makes films “known for their humor, anti-author­i­tar­i­an lean­ings and rig­or­ous­ly prim­i­tive aes­thet­ic.” Case in point, the 1984 short film Bar­res, which com­i­cal­ly doc­u­ments the best ways to jump the Paris metro. It’s some­thing of a sport in Paris. Arguably the sport most Parisians real­ly take part in. Unlike oth­er ver­sions of the film on the web, this one has Eng­lish sub­ti­tles. Enjoy.

h/t ubuweb

Relat­ed Con­tent:

Tui­leries: A Short, Slight­ly Twist­ed Film by Joel and Ethan Coen

Illus­trat­ed Eti­quette Guide Explains How to Ride the Paris Metro in a Civ­i­lized Way

Names of Paris Métro Stops Act­ed Out: Pho­tos by Janol Apin

 

81-Year-Old Professor Charlie Warner Goes to Burning Man: A Short Documentary (NSFW)

Char­lie Warn­er. He’s an 81-year-old media pro­fes­sor and for­mer media exec­u­tive from New York. He’s had bone mar­row can­cer. (It’s now in remis­sion.) He had open-heart surgery. He still has dia­betes. And yet he made the jour­ney to the Burn­ing Man fes­ti­val, in Nevada’s Black Rock Desert, to expe­ri­ence some­thing tran­scen­dent. And the fes­ti­val did­n’t dis­ap­point. Film­mak­er Jan Bed­degenoodts doc­u­ment­ed Warn­er’s expe­ri­ence in a short film called Char­lie Goes to Burn­ing Man. You can watch the touch­ing short in an embed­ded for­mat above. But it’s even bet­ter to go to the film’s web­site, where you can view it in a visu­al­ly-appeal­ing, full-screen for­mat. Be warned: It’s Burn­ing Man, so there are some Not Safe for Work (NSFW) moments in the film.

Don’t for­get to sign up for our dai­ly email. Once a day, we bun­dle all of our dai­ly posts and drop them in your inbox, in an easy-to-read for­mat.

Eight Free Films by Dziga Vertov, Creator of Soviet Avant-Garde Documentaries

Has any film­mak­er, of any era, had more influ­ence on doc­u­men­taries than Dzi­ga Ver­tov? We know the ear­ly 20th-cen­tu­ry Sovi­et cin­e­ma the­o­rist and direc­tor of avant-garde non-fic­tion films has a place high in the doc­u­men­tary pan­theon by virtue of his 1929 Man with a Movie Cam­era alone.

We’ve pre­vi­ous­ly fea­tured that motion pic­ture’s rise to Sight and Sound’s des­ig­na­tion of the eighth great­est of all time, and if you did­n’t watch it free online then, you can do so above now. Just after that, we fea­tured his unset­tling Sovi­et Toys, the first ani­mat­ed film ever made in that then-nation. But giv­en that the age of Ver­tov’s work — not that time has dimin­ished its aes­thet­ic rel­e­vance or excite­ment — has brought it into the pub­lic domain, why stop there?

Today we offer a roundup of all the Dzi­ga Ver­tov movies cur­rent­ly view­able free online, a col­lec­tion that allows you to watch and judge for your­self whether he and his col­lab­o­ra­tors suc­ceed­ed in mak­ing a dent in what he called “the film dra­ma, the Opi­um of the peo­ple.” Despite the thor­ough­ly low-tech nature of these pic­tures, even by doc­u­men­tary stan­dards, you may find your­self moved after hav­ing watched them — not nec­es­sar­i­ly by the Sovi­et caus­es he some­times extolled, but by his cin­e­mat­ic ral­ly­ing cry: “Down with bour­geois fairy-tale sce­nar­ios. Long live life as it is!”

  • Kino Eye (1924) Ver­tov’s first doc­u­men­tary not made from found footage jour­neys, accord­ing to a con­tem­po­rary news­pa­per, “from the Pio­neer camp, through the peas­ant court­yards, through the fields, through the mar­kets and slums of the town, with an ambu­lance car to a dying man, from there to work­ers’ sports grounds, and so on and so forth, peer­ing into all the lit­tle cor­ners of social life.”
  • Sovi­et Toys (1924) A “car­toon” that, in the words of our own Jonathan Crow, “dis­plays [Ver­tov’s] knack for mak­ing strik­ing, pun­gent images,” “yet those who don’t have an inti­mate knowl­edge of Sovi­et pol­i­cy of the 1920s might find the movie — which is laden with Marx­ist alle­gories — real­ly odd.”
  • Kino-Prav­da #21 (1925) Also known as Lenin Kino-Prav­da, “a spe­cial, longer-than-usu­al issue of [news­reel] Kino-Prav­da,” as the Har­vard Film Archive describes it, “in which Ver­tov jumps with bold­ness and ease between news­reel and drawn ani­ma­tion to illus­trate Sovi­et Rus­si­a’s way up under Lenin’s lead­er­ship, the decline in Lenin’s health, and the year elapsed since his death.”
  • A Sixth Part Of The World (1926) A mix­ture of news­reel and found footage that, accord­ing to the Inter­net Archive, the film depict­ed “through the trav­el­ogue for­mat [ … ] the mul­ti­tude of Sovi­et peo­ples in remote areas of USSR and detailed the entire­ty of the wealth of the Sovi­et land,” mak­ing “a call for uni­fi­ca­tion in order to build a ‘com­plete social­ist soci­ety.’ ”
  • Stride, Sovi­et! (1926) “What began as a com­mis­sion by the sit­ting Moscow Sovi­et for a pro­mo­tion­al movie,” says the Har­vard Film Archive, “was trans­formed by Ver­tov into some­thing else entire­ly: a film exper­i­ment, an emo­tion­al film – any­thing but a pic­ture that would help the Mossovet be reelect­ed.”
  • The Eleventh Year (1928) A cel­e­bra­tion of “the tenth anniver­sary of the Octo­ber Rev­o­lu­tion” which, accord­ing to the Har­vard Film Archive, presents that decade of social­ism “in the eyes of a left-wing artist of the twen­ties” as “a rad­i­cal social exper­i­ment [ … ] required to be pre­sent­ed in a rad­i­cal­ly exper­i­men­tal way.”
  • Man with a Movie Cam­era (1929) “Made up as it is of ‘bits and pieces’ of cities from Moscow to the Ukraine,” writes Sens­es of Cin­e­ma’s Jonathan Daw­son, it “remains a per­fect dis­til­la­tion of the sense of a mod­ern city life that looks fresh and true still,” “the strongest reminder that, in spite of the extra­or­di­nary pres­sures on his per­son­al and work­ing life, Ver­tov was one of the great­est of all the pio­neer film­mak­ers.”
  • Three Songs About Lenin (1934) Also known as Three Songs of Lenin and Three Songs Ded­i­cat­ed to Lenin, a deliv­ery of exact­ly what the title promis­es — but with a Ver­tov­ian styl­is­tic slant.

Relat­ed Con­tent:

200 Free Doc­u­men­taries Online, part of our col­lec­tion: 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

65 Free Char­lie Chap­lin Films Online

35 Free Oscar Win­ning Films Avail­able on the Web

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Derek Jarman’s Jubilee: “It’s the Best Film about Punk” (1978)

Derek Jar­man was too old and too accom­plished to be a punk. By 1977, the open­ly gay film­mak­er and artist was already 36 and had an impres­sive CV that includ­ed doing set design for Ken Russell’s The Dev­ils and direct­ing Sebas­tiane, a land­mark in gay cin­e­ma, notable for not only its frank depic­tion of the male body but also for its dia­logue which was entire­ly in Latin. Nonethe­less, Jar­man gath­ered togeth­er nota­bles from London’s bur­geon­ing punk scene, includ­ing a young, lithe Adam Ant, to cre­ate Jubilee –the first and, arguably best, punk movie ever.

The plot, as such, cen­ters on Queen Eliz­a­beth I who, with the help of court occultist John Dee (played by Rocky Hor­ror Pic­ture Show’s Richard O’Brien), sees her land 400 years into the future. It’s a Britain filled with garbage and plagued with crime. Queen Eliz­a­beth II, for instance, was killed in a mug­ging. As Queen Eliz­a­beth I wan­ders around the wreck­age of the British Empire, she encoun­ters a bunch of leather-clad toughs includ­ing Amyl Nitrite (played by Mal­colm McLaren pro­tégé Jor­dan), Crabs (Lit­tle Nell, also from Rocky Hor­ror) and Mad (Toy­ah Will­cox, who would lat­er go on to delight a gen­er­a­tion of tod­dlers by voic­ing The Tele­tub­bies). The high­point of the movie is, with­out a doubt, is when Jor­dan per­forms a risqué dance to a glammed up ver­sion of Rule Bri­tan­nia.

Jar­man tapped into the same feel­ings of anger, dis­il­lu­sion­ment, and nihilism that the Sex Pis­tols artic­u­lat­ed. As Jar­man told The Guardian in 1978, “We have now seen all estab­lished author­i­ty, all polit­i­cal sys­tems, fail to pro­vide any solu­tion — they no longer ring true.” Jubilee feels like a John Waters movie with­out the gross-out gags. A Paul Mor­ris­sey movie but with a clear sense of polit­i­cal pur­pose. It’s gid­dy, unin­hib­it­ed, vio­lent and occa­sion­al­ly quite dis­turb­ing.

Reac­tions to the movie were, not sur­pris­ing­ly, mixed. Yet the peo­ple who real­ly despised the flick weren’t cul­tur­al con­ser­v­a­tives as you might expect. They would fret over the film when it final­ly aired on late night TV in 1986. But in 1978, when the film came out, the very peo­ple the film was about hat­ed it. Souxsie Sioux, of Souxsie and the Ban­shees fame, had a bit part in the film but nonethe­less thought that it was “hip­py trash.” Punk fash­ion­ista Vivi­enne West­wood hat­ed the movie so much she made an insult­ing T‑shirt about it. And Adam Ant, who went to the pre­miere with his moth­er, ini­tial­ly thought the film was ter­ri­ble. Jar­man didn’t give a toss. “I don’t par­tic­u­lar­ly want peo­ple to like the film or what it depicts,” he once told a reporter. “I sim­ply hope that it makes them feel that some­thing is going on.”

Yet over the years, the film’s rep­u­ta­tion has steadi­ly improved. Ant, for instance, has changed his opin­ion of Jubilee. “Today I think it’s an amaz­ing achieve­ment and tes­ta­ment to Derek Jar­man’s per­sis­tence and inge­nu­ity.” And his­to­ri­an Jon Sav­age, who lit­er­al­ly wrote the book on punk, declared that “it’s the best film about punk, for all its fail­ings.” British crit­ic Julian Upton went one step fur­ther:

Jubilee is the most impor­tant British film of the late ’70s. Okay, it faced lit­tle com­pe­ti­tion at the time — just a weak trick­le of ill-con­ceived co-pro­duc­tions, third-rate soft­core, and the usu­al her­itage and nos­tal­gia. Next to those, Jubilee, then as now, stands out like a sore thumb.

via Net­work Awe­someThe Guardian

Relat­ed Con­tent:

Four Female Punk Bands That Changed Women’s Role in Rock

Wittgen­stein: Watch Derek Jarman’s Trib­ute to the Philoso­pher, Fea­tur­ing Til­da Swin­ton (1993)

Car­avag­gio, Derek Jarman’s Take on the Baroque Painter’s Life, Work & Roman­tic Com­pli­ca­tions (1986)

The Sex Pis­tols Do Dal­las: A Strange Con­cert from the Strangest Tour in His­to­ry (Jan­u­ary 10, 1978)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrowAnd check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly. 

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