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Parker Tyler (1904 - 1974)
Related: film criticism - underground cinema - sex in film - gay cinema - USA
Sex in Films (1974) Parker Tyler
With a picture of Claire's Knee on the cover.
Parker Tyler was to the Americans what Ado Kyrou was to the French and what Raymond Durgnat was to the British.
The great Pauline Kael and the gay Parker Tyler are in my view the best modern film critics --Camille Paglia, Salon.com
Harrison Parker Tyler, better known as Parker Tyler was born March 6, 1904, in New Orleans and died in 1974.
He was an author and film critic.
He co-authored The Young and Evil (Obelisk Press, 1933) with Charles Henri Ford, an energetically experimental novel with obvious debts to fellow Villager Djuna Barnes, and also to Gertrude Stein, who called it "the novel that beat the Beat Generation by a generation." --http://en.wikipedia.org/wiki/Parker_Tyler [Aug 2005]
Tyler is best known for his poetic and highly ironic film studies of the 1940s; he himself cites The Hollywood Hallucination (1944) and Magic and Myth of the Movies (1947) fairly frequently in the pages of his later books, sometimes more so than is quite respectable. But his career after the 40s is also worth a close look. The 50s and 60s were years not only of busy experiment in the New York film world, but of Tyler’s increasing focus on the plastic arts. He became an ArtNews contributor and later a Contributing Editor. His devotion to the New York scene, and his friendships with Charles Boultenhouse and Maya Deren, inevitably drew his attention away from populist Hollywood and toward the pure image-driven aesthetic of the art film. Not that he abandoned the movies completely; he continued to write wittily about them for the Nation and Kenyon Review. But his Film Culture examinations of filmmakers like Brakhage and Markopoulos are comparatively straight-faced. The underground and experimental films did not, after all, demand the inventive dressing-down that Hollywood’s garish myths did. For the most part Tyler was a pretty sober writer in his middle years, his concerns more those of the ArtNews exegete than of the playful Surrealist. --Jeffrey A. Lee http://www.torriblezone.com/aboutpt.html [Sept 2004]
The Hollywood Hallucination (1944) - Parker Tyler [...]
The Hollywood Hallucination. [a] New York: Creative Age, 1944. Introduction by Iris Barry. [b] New York: Simon and Schuster, 1970. Introduction by Richard Schickel.
The first of Tyler’s books of imaginative film criticism, derived in part from his View essays. The Hollywood Hallucination introduces Tyler’s critical arabesques, elaborated in his later books, concerning Mae West, Mickey Mouse, the Good Villain and the Bad Hero, and the “somnambules”; and his Duchamp-like preoccupation with the mechanics of the body, especially in the essay “Of Mickey and Monsters,” and in the lyrical closing chapter’s meditations on the eye. An introduction by Henry Miller, commissioned by Tyler but rejected by the publisher, appeared in Miller’s Sunday After the War (Norfolk, Connecticut: New Directions, 1944) as “Original Preface to ‘Hollywood’s Hallucination’” [sic]. Characteristically, Miller’s essay has as little to do with Tyler’s book as his The Time of the Assassins has to do with Rimbaud. --http://www.torriblezone.com/ptbib.html [Aug 2004]
Sex in Films (1974) Parker Tyler
Sex in Films (1974) Parker Tyler
It's good to see this fascinating book still in print after all these years. I believe the original 1974 edition went up to 8 or 9 printings. Where Parker Tyler found his material is anyone's guess. Jammed-full of photographs from obscure and well-known films, both Hollywood produced and from foreign countries, this book is casually laid-out which makes it great for thumbing through. Everytime I open the pages I find new and interesting facts I didn't know. Each picture carries a short caption identifying the film and the book is divided into chapters of sexual preference or deviation, like "Bedroom and Bath", "The Bosom and the Bottom" and "The Gay Sexes." (Hollywood didn't miss a thing!) The chapters describe every era of filmmaking and the fight with censors, eventually bringing us to 70's and Black Exploitation Films. Highly Recommended! --Tom Hopkinson , amazon.com
Tyler, Parker. A Pictorial History of Sex in Films. Secaucus, NJ: Citadel Press, 1974. Survey of sexuality on the screen. Organized in accordance with the type of activity pictured, including nudity, group sex, sadomasochism, rape, homosexuality, prostitution, and interracial intercourse. Particular interest in sex as cinematic spectacle — "sex symbols" and "love gods." Focus is mainly on the Hollywood feature. --http://www.ejumpcut.org/archive/onlinessays/JC26folder/BiblioWomenPorn.html [Dec 2005]
Underground Film : A Critical History (1969) - Parker Tyler
Underground Film : A Critical History (1969) - Parker Tyler [Amazon.com]
This text evaluates the underground in general and the seminal films in particular, covering the history and scope of the genre.
A masterpiece of cinema literature, Tyler has evaluated the Underground in general and the seminal films in particular, covering the history and scope of the genre with insight and verve. "Indispensable for anyone interested in contemporary filmmaking, its history, personalities, and rationale."--Publishers Weekly. 67 film stills and frame enlargements.
Screening the Sexes Homosexuality in the Movies (1972) - Parker Tyler
Screening the Sexes Homosexuality in the Movies (1972) - Parker Tyler [Amazon.com] [FR] [DE] [UK]
This item was first published in 1972 and reprinted by Da Capo in 1993. The Amazon links point to which ever version was available at the local Amazons.
PARKER TYLER's comprehensive title, SCREENING THE SEXES: HOMOSEXUALITY IN THE MOVIES, was published in 1972. It was a summary of his years of work in film criticism and may have been his first book since Stonewall. For nearly 30 years, Tyler had been publishing his quirky and independent insights on the silver screen.
SCREENING THE SEXES is the definitive book on hidden homosexual motifs as well as explicit male and female homosexuality in both commercial and avant-garde films. From Mae West to Greta Garbo, from Fellini to Warhol, from Bogart to Brando, from drag queens to stag stars, Tyler has a full inventory for his discourse.
Tyler has always been celebrated for his very personal writing style. Here's a random example: "All masquerades have this paradoxical quality of making dress-up look like a display of nudity. The hidden homosexualism of the standard cowboy film has long been mined to reach an audience that goes in for the moral metabeaver: the naked look for homos masquerading as heteros." It is likely that if Parker Tyler had never written his fabulous works about the movies Gore Vidal would never have come up with the equally fabulous Myra Breckinridge, nor would have Boyd McDonald written his movie lore in CRUISING THE MOVIES, which I feature below in the RE:PAST section. --http://www.calamusbooks.com/newsletters/3/7/ [Mar 2006]
See also: Parker Tyler - gay cinema - 1972
Parker Tyler: A Checklist of Books and Pamphlets, with Selected Magazine Articles
by Jeffrey A. Lee http://www.torriblezone.com/ptbib.html [Aug 2004]
I. Books and Pamphlets
1. The Young and Evil (with Charles Henri Ford). [a] Paris: Obelisk Press, 1933. [b] Paris: Olympia Press, 1960. Traveller’s Companion Series No. 80. [c] New York: Arno, 1975. Arno Series on Homosexuality. [d] New York: Sea Horse Press and Gay Presses of New York, 1988. Introduction by Steven Watson. Illustrations by Pavel Tchelitchew.A roman à clef about bed- and café-hopping in 1920s Greenwich Village. Ford, in Columbia, Mississippi editing Blues, had assembled several chapters out of Tyler’s “very uninhibited and spontaneous letters” from the Village, while Ford and Tyler each wrote other chapters independently. The original edition, from Jack Kahane’s press, bore advertisements by Djuna Barnes, whose amanuensis Ford had been, and Gertrude Stein. It didn’t make it into the U.S., but was seized as obscene by Customs and destroyed, making the surviving copies instant collector’s items. Edith Sitwell described it as “foul and unspeakable”; according to Millicent Dillon, Jane Bowles shoplifted a copy while on her honeymoon in Panama City. Tyler comments in The Olympia Reader (1965) on the “strange, if gratifying, queries” he received from time to time about the book—“I would point vaguely in the direction of some esoteric bookshop”—until 1960, when Kahane’s son, Maurice Girodias, revived it in his famous green-covered Traveller’s Companion Series. The scholarly Arno Series on Homosexuality, which Jonathan Ned Katz edited, published its Young and Evil a year after Tyler’s death—the first legitimate U.S. edition of the book, although pirates of the Olympia Press edition probably existed.
2. Vision: A Poem Preceded by an Argument. [New York]: Privately printed, 1934. Edition of 100.*The title as it appears on the title page is Vision: Argument by Anti-Poem Arabesque—Token of C. B.
3. Three Examples of Love Poetry. New York: Parnassus, 1936. Designed and printed by Lew Ney. Edition of 75.*
4. The Ballad of De Soto. New York: The Board of Education of the City of New York for the New Reading Material Program, Federal Works Agency, Works Projects Administration, 1938. Illustrated by Albert Kostin.*
5. The Ghost on the Balcony. New York: The Board of Education of the City of New York for the New Reading Material Program, Federal Works Agency, Works Projects Administration, 1938. Illustrated by Constantin Morros.*
6. How the Wren Almost Became King. New York: The Board of Education of the City of New York for the New Reading Material Program, Federal Works Agency, Works Projects Administration, 1938. Illustrated by Jean Oliver.*
7. Alice in Wonderland. New York: The Board of Education of the City of New York for the New Reading Material Program, Federal Works Agency, Works Projects Administration, 1939. Adapted from the book by Lewis Carroll. Illustrated by Mary Goeppinger.*
8. The Peppermint Pony, the Sea, the Island, the House, the Boy and the Girl. New York: The Board of Education of the City of New York for the New Reading Material Program, Federal Works Agency, Works Projects Administration, n.d. [1938 or 1939]. Illustrated by Theresa Sherman.*
9. The Metaphor in the Jungle. Prairie City, Illinois: James A. Decker, 1940. Edition of 250. Cover by Matta. Frontispiece by Pavel Tchelitchew.*
10. The Hollywood Hallucination. [a] New York: Creative Age, 1944. Introduction by Iris Barry. [b] New York: Simon and Schuster, 1970. Introduction by Richard Schickel.The first of Tyler’s books of imaginative film criticism, derived in part from his View essays. The Hollywood Hallucination introduces Tyler’s critical arabesques, elaborated in his later books, concerning Mae West, Mickey Mouse, the Good Villain and the Bad Hero, and the “somnambules”; and his Duchamp-like preoccupation with the mechanics of the body, especially in the essay “Of Mickey and Monsters,” and in the lyrical closing chapter’s meditations on the eye. An introduction by Henry Miller, commissioned by Tyler but rejected by the publisher, appeared in Miller’s Sunday After the War (Norfolk, Connecticut: New Directions, 1944) as “Original Preface to ‘Hollywood’s Hallucination’” [sic]. Characteristically, Miller’s essay has as little to do with Tyler’s book as his The Time of the Assassins has to do with Rimbaud.
11. Yesterday’s Children (with Pavel Tchelitchew). New York: Harper and Brothers, 1944.Drawings by Tchelitchew—studies for his large canvas “Hide and Seek”—with a poem by Tyler.
12. The Granite Butterfly: A Poem in Nine Cantos. [a] Berkeley, California: Bern Porter, 1945. Edition of 500. Cover by the author. [b] Philadelphia: Walton, 1974. Illustrations by Bern Porter. [c] Orano, Maine: National Poetry Foundation, 1994 (as The Granite Butterfly: A Poem in Nine Cantos—A Facsimile of the First Edition with Supplementary Materials). Edited by Charles Boultenhouse and Michael Fournier. Introduction by Boultenhouse. “Dawn Angel,” a song by Ned Rorem to Tyler's text. Additional texts by Tyler, William Carlos Williams, Bern Porter, Kenneth Burke, Marius Bewley, Deane Mowrer, E. S. Forgotson, Waldemar Hansen and H. R. Hays. Illustrated.Tyler’s major poetic work, a book-length poem incorporating Freudian autobiography, Hollywood mythology and “cinematic” techniques. William Carlos Williams reviewed it enthusiastically in Accent. A cluster of private references in The Granite Butterfly is the subject of Charles Boultenhouse’s essay, “Parker Tyler’s Own Scandal,” in Film Culture 77 (Fall, 1992) a crucial piece of biographical criticism.
13. A Little Boy Lost: Marcel Proust and Charlie Chaplin. New York: QVS, 1947. Prospero Pamphlets No. 2. Designed by Dmitri Petrov. Edition of 400.
14. Magic and Myth of the Movies. [a] New York: Holt, 1947. Illustrated. [b] New York: Simon and Schuster, 1970. Introduction by Richard Schickel. Illustrated. [c] London: Secker and Warburg, 1971. Cinema Two Series. New Introduction by the author: “The Hazards and Rewards of being a Film Critic Bold enough not to Fear being Called High-brow and Worse.” Frontispiece photograph by Charles Boultenhouse. Illustrated.Tyler begins with an essay on moviegoing as “charade,” a metaphor he would elaborate in many of his later books, and winds up, as he did in The Hollywood Hallucination, with one of his flights of Freudian/Surrealist lyricism: “Scenario for a Comedy of Critical Hallucination.” The section of film stills introduces one of Tyler’s overlooked talents: that of an irreverent caption-writer.
15. Chaplin: Last of the Clowns. [a] New York: Vanguard, 1948. Illustrated. [b] New York: Horizon, 1972. Revised edition. Illustrated.
16. How to Solve the Mystery of “Rashomon.” New York: Cinema 16, 1952. Cinema 16 Pamphlet No. 1.*
17. Marca-Relli. Paris: Georges Fall, 1960. The Pocket Museum. Artist monograph. Color and black and white plates.
18. The Three Faces of the Film: The Art, the Dream, The Cult. [a] New York: Thomas Yoseloff, 1960. Illustrated. [b] New York: A. S. Barnes, 1967. New and Revised Edition. Two new chapters, and a new Introduction by Tyler: “The ‘Hollywood Hallucination’ Rampant.” Illustrated.A collection of previously published articles, whose subjects show Tyler’s shift of attention from Hollywood to the avant-garde and the underground, including material on Last Year at Marienbad, Shadows and the films of Maya Deren and Charles Boultenhouse. Blurbed by Marshall McLuhan and Paul Goodman, the revised Three Faces has a dustjacket bearing an image of the author from Charles Boultenhouse’s Three Film Portraits.
19. Classics of the Foreign Film: A Pictorial Treasury. [a] Secaucus, NY: Citadel, 1962. Illustrated. [b] Citadel, 1989 (as Early Classics of the Foreign Film). Illustrated.
20. Florine Stettheimer: A Life in Art. New York: Farrar, Straus, 1963. Preface by Carl Van Vechten, “Prelude in the Form of a Cellophane Birdcage.” Color and black and white plates.
21. Every Artist His Own Scandal: A Study of Real and Fictive Heroes. New York: Horizon, 1964.Mainly literary criticism—Shakespeare, Kafka, Henry James—but also including an essay on Nijinski. The uncredited dustjacket illustration is a photocollage of a fragmented Proust.
22. The Divine Comedy of Pavel Tchelitchew: A Biography. New York: Fleet, 1967. Illustrated.Tyler spent many years writing this extraordinary biography of his longtime friend, who was Ford's companion until his death in 1957. He had already written extensively about the Russian émigré artist and stage designer in View, ArtNews and other magazines. The Divine Comedy of Pavel Tchelitchew was his most ambitious and consuming project, and is, arguably, his masterpiece.
23. Cézanne/Gauguin. Garden City, NY: Doubleday, 1968. World Art Series. Color and black and white plates.
24. Degas/Lautrec. Garden City, NY: Doubleday, 1968. World Art Series. Color and black and white plates.
25. Renoir. Garden City, NY: Doubleday, 1968. World Art Series. Color and black and white plates.
26. Van Gogh. Garden City, NY: Doubleday, 1968. World Art Series. Color and black and white plates.
27. Sex Psyche Etcetera in the Film. New York: Horizon, 1969.A collection of previously published articles. The dustjacket has blurbs from Eric Bentley, Jonas Mekas and Gore Vidal (actually Myra’s hyperbolic comments from Myra Breckenridge.)
28. Underground Film: A Critical History. [a] New York: Grove Press, 1969. Illustrated. [b] New York: Evergreen, 1970. New Introduction by the author. Illustrated. [c] New York: Da Capo, 1995. New Introduction by J. Hoberman. New Afterword by Charles Boultenhouse. Illustrated.The first book of its kind. Much of the material is derived from Tyler’s Film Culture articles.
29. Carl Pickard. New York: Horizon, 1972. Artist monograph. Color and black and white plates.
30. Screening the Sexes: Homosexuality in the Movies. [a] New York: Holt, Rinehart & Winston, 1972. Illustrated. [b] New York: Da Capo, 1993. New Introduction by Andrew Sarris. New Afterword by Charles Boultenhouse. Illustrated.The first book to be published on the subject, preceding Vito Russo’s very different The Celluloid Closet by more than ten years. Tyler discussed the book with Norman McLain Sloop in After Dark (May 1972), a rare interview. Andrew Sarris’s Introduction to the Da Capo reprint is an odd, apologetic piece by Tyler’s temperamental opposite; Boultenhouse illustrates his Afterword with photographs and a photocollage by Tyler, intended for the dustjacket of the original edition.
31. The Shadow of an Airplane Climbs the Empire State Building: A World Theory of Film. Garden City, NY: Doubleday, 1972.Tyler’s theoretical summing-up, and certainly his densest, most circumlocutory, and most difficult book.
32. The Will of Eros: Selected Poems 1930-1970. Los Angeles: Black Sparrow, 1972. Frontispiece by Tchelitchew.Poems from The Metaphor in the Jungle and the complete corrected text of The Granite Butterfly. Issued in both limited (200) and trade editions.
33. A Pictorial History of Sex in Films. [a] Secaucus, New Jersey: Citadel, 1974. Illustrated. [b] Citadel, 1993 (as Sex in Films). Illustrated.
II. Edited by Tyler
1. Modern Things. New York: Galleon, 1934. Anthology. Introduction by Tyler. Poems by T. S. Eliot, Ezra Pound, e. e. cummings, Marianne Moore, William Carlos Williams, Wallace Stevens, Gertrude Stein, Harold Rosenberg, H. R. Hays, Paul Eaton Reeve, Joseph Rocco, Lionel Abel, Charles Henri Ford, Carl Rakosi, Louis Zukovsky, Raymond Larsson, and Tyler. Dustjacket by Herbert Fouts.
III. Books with Original Contributions by Tyler
1. The Happy Rock: A Book About Henry Miller. Berkeley, California: Packard, 1945. “Three Americans” by Tyler, James Laughlin and Roy Finch.
2. Richman, Robert, ed. The Arts at Mid-Century. New York: Horizon Press, 1954. “The French Film,” “Italian Films,” “The German Film,” “The British Film: Phonetics, Fumed Oak, and Fun,” and “The American Film: Trends in the Fifties.”
3. The Mosaics of Jeanne Reynal. New York: George Wittenborn, 1964. “The Susceptible Art of Jeanne Reynal.”
4. Conway, Michael, Dion McGregor, and Mark Ricci. The Films of Greta Garbo. Secaucus, NJ: Citadel, 1964. “The Garbo Image” (Introduction).
5. Pavel Tchelitchew. New York: Gallery of Modern Art, 1964. Exhibition catalog. Chronology compiled by Tyler.
6. Girodias, Maurice, ed. The Olympia Reader. New York: Grove Press, 1965. Preface to excerpt from The Young and Evil.
7. Lamantia, Philip. Touch of the Marvelous. [Berkeley, CA]: Oyez, 1966. Introduction.
8. Gordon, M. L., ed. 5 Essays on the Dance of Erick Hawkins. New York: Foundation for Modern Dance, n.d. [1970s]. “Erick Hawkins: American life stylist.”*
9. Poetry and Film. New York: Gotham Book Mart, 1972. Symposium with Tyler, Maya Deren, Willard Maas, Arthur Miller and Dylan Thomas. Offprint from Film Culture.*
10. Carroll, Kent J., ed. Close Up: Last Tango in Paris. New York: Grove, 1973. "A Last in Tangos, a First in Brandos.”
11. Tuska, John. The Films of Mae West. Secaucus, New Jersey: Citadel, 1973. Introduction.
12. MacDonald, Scott. Cinema 16: Documents Toward a History of the Film Society. Philadelphia: Temple University Press, 2003. Program Notes for Sidney Peterson’s The Lend Shoes; Letter to Amos Vogel. Also reprints “Rashomon as Modern Art” and “Poetry and Film.”
IV. Selected Magazine Articles
“Hollywood in Disguise: Gods and Goddesses Paid to Be Alive.” View 1.2 (1940).
“Marianne Moore’s Views on Writing and Editing: She Reminisces about The Dial.” View 1.2 (1940).
“Every Man His Own Private Detective” (on The Maltese Falcon). View 1.9/10 (1941).
“Heroes by Welles and Chaplin.” View 1.6 (1941).
“A Gift from Max Ernst.” View 2.1 (1942).
“Tchelitchew’s World.” View 2.2 (1942).
“The Endless Island” (on Tchelitchew). View 2.3 (1942).
“Americana Fantastica.” View 2.4 (1943).
“Christ, Socrates, Stalin in the Role of Narcissus.” View 3.3 (1943).
“The Erotic Spectator.” View 4.3 (1944).
“The Amorphous and Fragmentary in Modern Art.” ArtNews 44.10 (1945).
“The Limit of the Probable in Modern Painting.” View 5.1 (1945)
“Nature and Madness Among the Younger Painters.” View 5.2 (1945).
“‘Encyclopedism’ of American Art” (on Edward Hopper). View 5.3 (1945).
“I See the Pattern of Nijinsky Clear.” View 5.4 (1945).
“Ezra Pound: A Point of View” (editorial). View 5.5 (1945).
“If They Have Not Bread” (on Stuart Davis). View 5.5 (1945).
“Supernaturalism in Movies.” Theatre Arts 29 (1945).
“Dorian Gray: Last of the Movie Draculas.” View 7.1 (1946).
“The Esthetics of Modern American Dance.” Briarcliff Quarterly 3.9 (1946).
“Schizophrenia Motifs in Movies.” Sewanee Review 54 (1946).
“Seligmann, Stettheimer, Frances, Leonid, Tanguy.” View 7.2 (1946).
“Mondrian and the Squaring of the Circle .” Arts and Architecture August 1946.
“Chaplin: Autobiographical Artist.” Kenyon Review (1947).
“The Horse.” Sight and Sound 16.63 (1947).
“Human Anatomy as the Expanding Universe: Tchelitchew’s New Phase.” View 7.3 (1947).
“The Elements of Film Narrative.” Magazine of Art 41 (1948).
“Film Form and Ritual as Reality Principle.” Kenyon Review 10.3 (1948).
“Documentary Technique in Fiction Film.” American Quarterly 1 (1949).
“Experimental Film: Layman’s Guide.” Theatre Arts 33 (1949).
“Experimental Film: New Growth.” Kenyon Review 11.1 (1949).
“Hamlet and Documentary.” Kenyon Review 11.3 (1949).
“Wanted: The Whole Film Package.” The Nation 168 (1949).
“The Dream-Amerika of Kafka and Chaplin.” Sewanee Review (1950).
“Hollywood as a Universal Church.” American Quarterly 2 (1950).
“Lament for the Audience—and a Mild Bravo.” Kenyon Review 12.4 (1950).
“Reality into Dream into Myth into Charade into Dollars.” Kenyon Review (1951).
“The Film: Revival of the Matriarchal Spirit.” Accent 11.2 (1952).
“Magic Realism in American Painting.” American Artist(March 1952).
“Chaplin: The Myth of the Immigrant.” Western Review 18 (1953).
“Hollywood: The artist portrayed and betrayed.” ArtNews 54.20 (1954).
“The Film Sense and the Painting Sense.” Art Digest 28 (1954).
“Two Americans in Rome: Tchelitchew and Matta.” Arts Digest 28 (1954).
“Movie Note: The 3-Ds.” Kenyon Review 16.3 (1954).
“Marca-Relli pastes a picture.” ArtNews 54.7 (1955).
“Rodin and Freud: Masters of Ambivalence.” ArtNews 54.1 (1955).
“Mysticism, pastiche and Graves” (on Morris Graves). ArtNews 55.1 (1956).
“The Movies as a Fine Art.” Partisan Review 24 (1957).
“The purple patch of fetichism.” ArtNews 56.1 (1957).
“Pavel Tchelitchew, 1889-1957.” ArtNews 56.5 (1957).
"Hopper/Pollock: The Loneliness of the Crowd and the Loneliness of the Universe—An Antiphonal." ArtNews Annual 1957.
"On the Nature and Function of the Experimental (Poetic) Film: A Symposium" (with Tyler, Gideon Bachmann, Ian Hugo, Amos Vogel and Lewis Jacobs. Film Culture 14 (1957).
“Movies and the Human Image.” Forum (1958).
“On the Cult of Displaced Laughter.” Kenyon Review 20.4 (1958).
“A Preface to the Problems of Experimental Films.” Film Culture 17 (1958).
“Stan Brakhage.” Film Culture 18 (1958).
“Has the Horse’s Mouth a golden tooth?” ArtNews 57 (1959).
“New Images.” Film Quarterly 12.3 (1959).
“Sidney Peterson.” Film Culture 19 (1959).
“Willard Maas.” Film Culture 20 (1959).
“Harrington, Markopoulos, Boultenhouse: Two Down, One to Go?” Film Culture 21 (1960).
“Declamation of Film.” Film Culture 22-23 (1961).
“The Lady Called A; or If Jules and Jim Had Only Lived at Marionbad.” Film Culture 25 (1962).
"Soundtrack for A Film Poem Ending with the Close-Up of a Human Navel." Film Culture 29 (1963).
“Orson Welles and the Big Experimental Film Cult.” Film Culture 29 (1963).
“Poetry and Film: A Symposium” (with Tyler, Maya Deren, Willard Maas, Arthur Miller and Dylan Thomas). Film Culture 29 (1963).
Untitled contribution to Filmwise 3-4 (1963) (Markopoulos issue).
“The Atomic Age at New York’s First Film Festival.” Portfolio (1964).
“Tchelitchew: The melancholy of anatomy.” ArtNews 63.2 (1964).
“The Cult of Action as the Abrogration of History.” The Second Coming 1.6 (1965).
“Is Film Criticism Only Propaganda?” Film Culture 42 (1966).
“Dragtime and Drugtime.” Evergreen Review 11.46 (1967).
“Relativity: A Cosmic Dream.” Evergreen Review 11.48 (1967).
Untitled contribution to “The New American Cinema: Five Replies to Amos Vogel.” Evergreen Review 11.48 (1967).
Untitled contribution to Dance Perspectives 30 (1967) (film and dance issue).
“What Sex Really Is, or Name It and You Can Have It.” Evergreen Review 68 (1968).
“The Tyranny of Warrendale.” Evergreen Review 69 (1969).
“Do They or Don’t They? And Why It Matters.” Evergreen Review 78 (1970).
“From the Third Eye.” Evergreen Review 83 (1970).
“The Prince Zoubaroff: Praise of Ronald Firbank,” Part One. Prose 1 (1970).
“The Prince Zoubaroff: Praise of Ronald Firbank,” Part Two. Prose 2 (1971).
“The Education of a Prince.” Prose 6 (1973).
“Is Man a Clown? Is Fellini? And What’s a Clown?” Evergreen Review 96 (1973).
*Item not seen by compiler
by Jeffrey A. Lee http://www.torriblezone.com/ptbib.html [Aug 2004]
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