There aren’t a lot of things that can be compared to the beauty and transgression of the Japanese New Wave: for young directors of the ’60s, cinema was one of the ways to fight the establishment, globalization, and national censorship.
Normal Love, according to Smith, is the only kind of love where norms and limits don’t take place.įuneral Parade of Roses (1969) Toshio Matsumoto Oedipus Rex in Tokyo underground style
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The actors were free to explore, with a manual camera following each of their movements and capturing all the dirtiest things in close-up angles. His work still made him the legend of the American underground, thanks to his completely and utterly unique portrayal and understanding of the human body and the freedom that comes with it. Smith, much like many of the countercultural creators of that time, was followed by censorship and blamed for adult propaganda and the demoralization of potential viewers. His actionism roots are very much visible in Flaming Creatures and Normal Love - non-narrative avant-garde and very underappreciated LGBTQ+ films with explicit scenes being shown to us in the best tradition of underground cinema. Jack Smith was born in the 1930s and grew up in Texas - not the most favorable location for queer filmmakers and performers - but things changed when he moved to New York in the 50s. I'm in! Flaming Creatures (1963) Jack Smith A visual experiment of American cinematic avant-garde – sexual freedom years before Woodstock To get this party started, be playful and always respectful towards others. Pure is an online ad board and chat platform where people openly share their desires. The portrayal of queerness in the films is just another way to challenge the tedious, mere mortals’ norms. Araki’s queer movies about youth and rebellion show that there isn’t much logic behind our actions when we’re young: we’re impulsive and need everything at once. Polygamy, sexual freedom, hatred for morals, and boredom - the characters can be whatever they want to be, except for one thing: what adults expect them to be.
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The male characters have a full face of makeup on, and the females are dressed hyper sexually. The director’s view on gender is exploratory, and teenagers striving for a better life don’t care about perceived limits when it comes to self-search.
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You can clearly see Araki’s influence in nearly every rebellious teenage-revolved and queer TV shows and movies of today. This reckless, all-hating, breakthrough work pushes boundaries and tells us everything we thought we knew about young people. Gregg Araki’s indie VHS era is still a classic, fresh as ever even 30 years after its release. Gregg Araki’s Tetralogy: The Living End (1992), Totally F***ed Up (1993), The Doom Generation (1995), Nowhere (1997) The best part of the 90s - teenage rebellion and irrational desire