Gutter Auteur: The Films of Andy Milligan
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Often mounted as period pieces, using costumes sewn by the filmmaker, Milligan's gritty, bizarre films come across as inimitable meldings of the avant-garde theater of Jean Genet, the experimental films of Jack Smith, and the random cinema verite of a lunatic with a home movie camera. Yet Milligan's films are anything but random, ruminating at length on profound sociocultural themes of the day, including the emptiness of the sexual revolution.
Evident throughout all the films are two pet themes: a rabid deconstruction of the heterosexual paradigm, and a grotesque illumination of the family as breeder of dysfunction. Additional Product Features Number of Volumes. Show More Show Less. Best Selling in Nonfiction See all. Burn after Writing by Sharon Jones , Paperback 2. Yet Milligan's films are anything but random, ruminating at length on profound sociocultural themes of the day, including the emptiness of the sexual revolution.
Evident throughout all the films are two pet themes: a rabid deconstruction of the heterosexual paradigm, and a grotesque illumination of the family as breeder of dysfunction. Passar bra ihop. It Came from Rob Craig. American International Pictures Rob Craig.
The house soon became what he dubbed "Hollywood Central," where he filmed several of his movies. Milligan wrote, directed, built sets and sewed costumes for nearly all of his films.
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His usual "stock company" was often supplemented by Staten Island locals. Milligan's first movies were shot with a single hand-held millimeter Auricon sound-on-film news camera. This technique was inspired by Andy Warhol and allowed Milligan to move the camera around at will, at times punctuating violent scenes with his "swirl camera" technique through which he would spin the camera and point it to the ground.
His ability to make movies with such low budgets is why Mishkin often hired him and Mishkin's influence on the 42nd Street grindhouse circuit meant that Milligan's pictures played there often. In , Milligan began to make horror movies featuring gore effects with The Ghastly Ones , a 19th-century period piece and his first color film which was produced by JER and titled by Sam Sherman.
In , he made his next horror movie, a medieval period piece titled Torture Dungeon , after which he moved to London, England to make movies there after having made a deal with producer Leslie Elliot.
After directing the exploitation drama Nightbirds in London, his partnership with Elliot collapsed as he was working on The Body Beneath. On his return to New York, Milligan wrote and directed another medieval period piece titled Guru the Mad Monk , which was shot for the first time with a 35mm Arriflex camera and filmed entirely inside a Chelsea, Manhattan church.
This movie was released in December on a double feature with The Body Beneath. Through the next years, Mishkin released Milligan's British-made pictures, some with additional scenes shot in New York. The Rats are Coming!
After directing the sexploitation drama Fleshpot on 42nd Street , Milligan's output was restricted mostly to gory horror movies as he moved to the southern tip of Staten Island in the Tottenville neighborhood where he lived in and owned and operated a dilapidated hotel located at the corner end of Main Street and Ellis Street right next to the southern end of Staten Island Railway which is currently an Italian themed restaurant named Vincent Angelina's Ristorante.
He moved to Los Angeles, California, where he briefly owned a dress shop on Highland Boulevard from late to early Milligan then directed three more independently produced horror movies in and , which included Monstrosity , The Weirdo , and Surgikill as well as operated another theater and production company, which was called Troupe West, which ran until early In his nonfiction book about the horror genre, Danse Macabre , Stephen King gives a short assessment of one of Milligan's films: " The Ghastly Ones is the work of morons with cameras.
The re-discovery of Fleshpot on 42nd Street —generally regarded to be his best work—in the s by the Seattle-based video company Something Weird Video and the release of his biography in has made more widely known his theatrical background and the context to his work. Despite his modern-day recognition, most of Milligan's exploitation movies during the s remain unseen, as the prints were lost over time and remain so to this day. In he married Candy Hammond, a North Carolina stage actress and former "erotic dancer" who starred in a few of his films.
Seeds + Vapors | Quad Cinema
The wedding service took place on February 24, , at his Staten Island house located on 7 Phelps Place, which was still decorated for the movie shoot Seeds and attended by most of the crew people working on the film as well as his father and Japanese stepmother whom his father married in while Milligan Sr. The wedding was not viewed seriously by any of the attendees because Milligan was an open homosexual.
Candy divorced him the following year, apparently due to neglect as he was more focused on his film making career, and she shortly thereafter returned to her North Carolina hometown.