Banned soon after its first midnight screenings, the prints seized
and the organizers arrested, Jack Smith's incendiary Flaming
Creatures (1963) quickly became a cause celebre of the New York
underground. Championed and defended by Jonas Mekas and Susan
Sontag, among others, the film wildly and gleefully transgresses
nearly every norm of Hollywood morality and aesthetics. In a
surreal and visually dense series of episodes, the titular
"creatures" reenact scenes drawn from the collective cinematic
unconscious, playing on mainstream film culture's moral code in a
way that is at once a love letter to classical Hollywood and a
searing send-up of its absurdities. Tracing the film's production
and reception history, Constantine Verevis argues that it embodies
a unique type of cinematic rewriting, one that combines Smith's
multifaceted artistic work with exotic fragments drawn from the
cinematic past. This study of Smith's magnum opus explores its
status as a cult film that appropriates the visual texture, erotic
nuance, and overt fabrication of old Hollywood exoticism.
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