Whether defined by the carnivalesque excesses of Troma studios (
"The Toxic Avenger"), the arthouse erotica of Radley Metzger and
Doris Wishman, or the narrative experimentations of Abel Ferrara,
Melvin Van Peebles, Jack Smith, or Harmony Korine, underground
cinema has achieved an important position within American film
culture. Often defined as "cult" and "exploitation" or
"alternative" and "independent," the American underground retains
separate strategies of production and exhibition from the cinematic
mainstream, while its sexual and cinematic representations differ
from the traditionally conservative structures of the Hollywood
system. "Underground U.S.A." offers a fascinating overview of this
area of maverick moviemaking by considering the links between the
experimental and exploitative traditions of the American
underground.
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