YOUTH RESURGENCE ‘68: FROM TAKASAKI TO NEW YORK

YOUTH RESURGENCE ‘68: FROM TAKASAKI TO NEW YORK

Spectacle is proud to present this special one-night-only program in celebration of Interference Archive’s exhibition, Resurgence Youth Movement, 1964-67: Teenrevolt, Surrealism, Anarchism. Founded in New York’s Lower East Side in 1964, the Resurgence Youth Movement became a sprawling and boundless web of anti-racist, anti-imperialist, anarchist activity in cities around the country. The exhibition, closing on May 17th, follows the 2023 publication of Resurgence!, the first book devoted to the RYM and its founder Jonathan Leake, which includes selections of all twelve issues of Resurgence, the original mimeographed zine published by Leake and RYM between 1964 and 1967.

From Interference Archive:

The RYM called for the disintegration of the State, the complete destruction of bourgeois society, and a total surrealist-psychedelic revolution of the mind and body. “The Resurgence Youth Movement…advances the new anarchism of body, mind and soul, the psychedelic alchemies of revolution,” RYM wrote in their “Guerilla Manifesto” (Resurgence 6, 1967). Their activities continued until August of 1967, when Walter Caughey was stabbed to death in New York in an unsolved murder that many believe was politically motivated.

Copies of Resurgence! will be available for sale at the theater. We will be joined throughout the evening by special guests including Resurgence! Editor Abigail Susik, underground press scholar Sean Lovitt, and theorist and activist Sabu Kohso.

COLUMBIA REVOLT (Newsreel #14)
Pr. Newsreel, 1968.
United States. 59 min.
In English.

SATURDAY, MAY 16TH 5pm with q+a

BUY TICKETS

Working between 1967 and 1972, Newsreel was an activist film collective made up of numerous filmmakers who produced dozens of films documenting the political and social unrest of the late 60s and early 70s. Preserved by Third World Newsreel, this is the first opportunity to see the newly digitalized COLUMBIA REVOLT. One of the collective’s longest films, it documents the student occupation of five Columbia University buildings in April 1968.

An early large-scale protest of the Vietnam War, the action exposed links between Columbia’s institutional funding, support of the Vietnam War, and a new gymnasium to be constructed in the nearby neighborhood of Morningside Heights. Led by the Students for a Democratic Society and the Society of Afro-American Students, hundreds of young activists experimented with new forms of organizing, despite violent clashes with the NYPD. The revolt successfully forced the university to abandon its gymnasium project and disaffiliate from the Institute for Defense Analyses, a military research corporation supporting the US invasion of Vietnam. 

preceded by 

GARBAGE DEMONSTRATION (Newsreel #5)
Pr. Newsreel, 1968.
United States. 10 min.
In English.

This short Newsreel film follows a group of young people as they travel from Manhattan’s rapidly politicizing Lower East Side to its Upper West Side, bringing with them heaps of uncollected garbage from their own neighborhood to relocate on the grounds of Lincoln Center.

Abigail Susik and Sean Lovitt will join us for a Q+A discussion following this screening.

THE OPPRESSED STUDENTS
(aka FOREST OF OPPRESSION – A RECORD OF THE STRUGGLE AT TAKASAKI CITY)
(圧殺の森-高崎経済大学闘争の記録)
Dir. Shinsuke Ogawa, 1967.
Japan. 105 min.
In Japanese with English subtitles.

SATURDAY, MAY 16TH 7:30pm with introduction and q+a

BUY TICKETS

Rarely screened in the United States since their original releases, Shinsuke Ogawa’s films offer invaluable insight into Japanese radical politics and the collective action of workers, students, and villagers. Ogawa dared to imagine a new ethics and approach to documentary production in Japan as he situated himself closely alongside political dissidents and communities and brought the filmmaking process closer to political struggle than had previously been done in Japan.

THE OPPRESSED STUDENTS is an undecorated and patient documentation of a multi-year protest at Takasaki University, which reached its peak in 1967 and 1968 with the students’ unprecedented occupation of university buildings. The film follows a relatively small group of young activists as they struggle to maintain their movement against violent Japanese institutions and the powerful cultural pressures surrounding themselves and their peers. An intimate view of long-term resistance, THE OPPRESSED STUDENTS sits with the messiness and uncertainty of grassroots organizing and reflects the changing feeling of time for those on the frontlines, as persistent and slow struggle erupts into sudden and dangerous moments of conflict.

Abigail Susik, Sean Lovitt, and Sabu Kohso will join us to discuss this piece of history, including how a group of teenagers involved with RYM in the Lower East Side caught wind of THE OPPRESSED STUDENTS and were inspired to adapt some of the Japanese students’ tactics.

Sabu Kohso is a theorist, translator, and long-time activist in global and anti-capitalist struggle. A native of Okayama, Japan, Sabu has lived in New York City since 1980. He has published several books on urban space and struggle in Japan and his translations include works by Kojin Karatani and David Graeber. His most recent book is Radiation and Revolution (Duke University Press, September 2020). 

 

Co-programmed with Abigail Susik and Sean Lovitt.

Special thanks to Abigail Susik, Sean Lovitt, Sabu Kohso, Kelly Mill, Amelia Langas, Brooke Darrah Shuman, Jed Rapfogel, Third World Newsreel, and the Athénée Français Cultural Center.

NEW YORK ON THE VERGE: FOUR FILMS BY MICHAEL AND CHRISTIAN BLACKWOOD

Michael Blackwood directed and produced over 150 films beginning in the 1960s and continuing through the 2010s, while his brother Christian directed and produced around 50 additional films himself. The largest and most well known portions of both bodies of work focused on the artist, including dozens of profiles with painters, musicians, dancers, and other artists, as well as surveys of contemporary cultural movements such as postmodern architecture, jazz, abstract expressionism, modern dance, modern sculpture, and pop art. In 1966, Michael Blackwood created Blackwood Productions with a commitment “to making films about art, music, and the cultural landscape in New York City,” but went on to produce films around the world. Christian Blackwood, Michael’s younger brother by eight years, made films alongside his brother for many years before venturing out on his own. 

While most of the Blackwoods’ films remain underseen, the four films in this series about New York have never before screened theatrically in the city that inspired them. Each is unique in style – experimental, vérité, essay film, “expository” – but they are all inherently city films. They were made at three major turning points in New York City’s turbulent twentieth century: the dawn of the 60s, the onset of the 70s, and the watershed of the mid 1980s. These four films highlight the Blackwoods’ love for the city and its people and are full of new views of our great, messy, corrupt, beloved city.

BROADWAY EXPRESS + NEW YORKERS (48 minutes)

MONDAY, APRIL 6 – 10 PM (following the 7:30pm screening of SUMMER IN THE CITY)
WEDNESDAY, APRIL 29 – 7:30 PM

ONLINE TICKETS

BROADWAY EXPRESS
Dir. Michael Blackwood, 1959
United States. 19 min.

In 1957, the vérité documentarian D.A. Pennebaker released his first film: at just over five minutes, DAYBREAK EXPRESS borrows its name from the Duke Ellington song to which Pennebaker set his romantic, avant-garde view of New York’s elevated subway line. Just two years later, Michael Blackwood made his debut with an homage to Pennebaker’s. In BROADWAY EXPRESS, also shot on silent 16mm film and set to an original jazz score by Howard Gilbert, Blackwood takes his camera underground and in the evening hours for a more internal view of both the city’s subway system and the New Yorkers who ride it. Following BROADWAY EXPRESS, Blackwood began his career in the footsteps of Pennebaker and other experimental documentarians of the 60s before refining his own approach to portrait films with more substantial use of voiceover narration and interviews.

NEW YORKERS
Dirs. Michael Blackwood, Lana Jokel, Philip Miller, and Roger Murphy, 1971.
United States. 29 min.
In English.

In NEW YORKERS, the camera floats around the Upper East Side, inviting shop owners and workers, neighborhood idlers and scurriers, mothers and children toward it with an air of joyfulness. A collaboration among Michael Blackwood and three additional co-directors, this open-ended exploration of a neighborhood seems to follow the inspiration of several observers and stays with characters unique to the time and the place, including the owner of a novel type of storefront for bike repairs.

SUMMER IN THE CITY
Dirs. Christian Blackwood and Robert Leacock, 1970.
Germany. 89 min.
In German and English with English subtitles.

MONDAY, APRIL 6 – 7:30 PM
FRIDAY, APRIL 10 – 5 PM
SUNDAY, APRIL 19 – 5 PM
SATURDAY, APRIL 25 – 10 PM

ONLINE TICKETS

SUMMER IN THE CITY is a stunning document of Christian Blackwood’s sensibilities as a cinematographer and a rich portrait of Manhattan at the precipice of its most notoriously troubled decade. It focuses on everyday New Yorkers caught in a moment between fading hope, trust, and promise and looming confusion, outrage, and desperation. The film is composed in vérité style but does not purport to be a fly on the wall as its subjects scowl at, question, and laugh with the cameraman, who is always in motion. The narration, written and read by Uwe Johnson, is at times lyrical and others abrasive. Johnson hides behind his words no less than Christian behind the camera, working out his feelings about New York and its inhabitants and leaving us each moved, delighted, conflicted, and provoked.

The project originated from the German writer, who lived on the Upper West Side in the 1960s:

“In 1968 German Television agreed to coproduce a film with us in which Uwe Johnson would, on-camera, introduce and question the various characters with whom he exchanges news and opinions on his wanderings on the Upper West Side. We proposed to him that he participate in the documentary. Being essentially introverted he was not interested in the on-camera concept, but was willing to make a list of places and situations that he felt should be included in the film. Christian Blackwood took charge of the project. Johnson wrote the narration once the film was edited. It was broadcast in Germany at the time.”

Content warning: Extensive portrayal of heroin use

EMPIRE CITY
Dir. Michael Blackwood, 1985.
United States. 89 min.
In English.

THURSDAY, APRIL 2 – 7:30 PM
WEDNESDAY, APRIL 8 – 10 PM
SATURDAY, APRIL 25 – 5 PM

ONLINE TICKETS

EMPIRE CITY is a straightforward documentary with a long-form joke underneath its surface. The film begins with notable access to the rich and powerful, and may appear to join in on the praise of the rapid development and new economic growth for which the ruling wealthy class gleefully takes responsibility. Free market enthusiasts could get lulled into the film only to be taken for a ride through Michael Blackwood’s exploration of class dynamics within the built environment of (mostly) Manhattan.

The film focuses on the history of New York City during its “golden age” of 1830-1930 told from the vantage point of the mid 1980s. As politicians, real estate developers, and business leaders celebrate the rebound of New York’s economy, Blackwood begins to expose the dark side of its new economic engine. This hardly-seen documentary contains an abundance of footage, soundbites, and context from this pivotal time.

 

Special thanks to Ben Blackwood.