Against prevailing notions of high art, they maintained a relationship to popular culture (particularly the most debased genres) that was parallel rather than antagonistic, demotic rather than elitist (to say tne least). American Cinema in the Sixties, writes about this early Kuchar work in relation to pop art (which it anticipated and influenced) as a of authenticity: . . . first, authorship is inscribed not in the narrative or the imagery so much as in the self-consciously domestic manufacture; second, in the quotation of industrial motifs, affection is indistinguishable from a self-conscious distancing that suggests but always shortcircuits explicit criticism; and third, signification hovers between the generic stock and the hypothetical real life outside the film that the diegesis invokes but never asserts.... Kuchar himself describes the process in 1989's 500 Millibars to Ecstasy, which documents a visit to University of Wisconsin-Madison: "...like sleep-away camp with a lust-crazed zombie seeking unholy couplings with the gas- and bug-free residents of College Town, U. S A." Kuchar' s comic persona allows for unrequited yearning, but not unrestrained coupling: the wished for or attempted seductions of our horny pedagogue always go awry.\n Likewise, his sweetly unrequited desires for the boy next door are as touching as the boy is unwitting.
Pages to are hidden for
"EXCREMENTS OF TIME: GEORGE KUCHAR'S VIDEOS"Please download to view full document