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	Bright Lights Film Journal \| The Kuchar Brothers (3)
		George’s approach to directing a student cast was to create custom-tailored scenes and roles that would best exploit the multifaceted talents and looks before him, playing to individual strengths and enthusiasms, freeing the energy rather than subjugating it within the disciplined context of polished scripts, storyboarding, and rehearsals.
		George’s performance is one of the most maniacal in the annals of the Underground, ranking alongside his role as Gianbeano in Sins of the Fleshapoids as his most twisted screen appearance.
		George received his only funding grant for Ascension of the Demonoids ($20,000 from the NEA), and so, freed from the usual financial restraints, he was determined to have a good time and make a "spectacle" with "tons of color" and dazzling superimpositions and other camera effects.
	www.brightlightsfilm.com /26/kuchar3.html (2413 words)

	George Kuchar - Wikipedia, the free encyclopedia
		George Kuchar is an American film director, known for his "low-fi" ethic, playful use of no-talent actors, plotless plots, and themeless themes.
		After being laid off from a commercial art job, Kuchar was offered a teaching job in the film department of the San Francisco Art Institute, where he has taught since the early 1970s.
		George Kuchar has directed over 200 films, many of them short films by students in his courses at San Francisco Art Institute.
	en.wikipedia.org /wiki/George_Kuchar (216 words)

	SFBG \| September 22, 1999 \| GOLDies \| Lifetime Achievement: Film \| George Kuchar (Site not responding. Last check: 2007-10-08)
		In the early 1970s, Kuchar moved west to San Francisco, and he has been a city fixture in his teaching post at the San Francisco Art Institute ever since, churning out some 60 films and 165 videotapes of his own, as well as supervising dozens of projects made with and by members of his classes.
		Kuchar worked for his usual fee – nothing – just to be a part of the proceedings.
		After all, George Kuchar – filmmaker, thespian, national treasure, and the artist who sums up his philosophy of lifetime achievement with the advice "try to have your nervous breakdowns in private" – once made a short self-portrait that more than demonstrated his Rowlands-like ability to make his on-the-verge-ness a very public matter.
	www.sfbg.com /Goldies99/george.html (267 words)

	Maryland Film Festival 2000
		With nearly 30 years of filmmaking experience, the Kuchars embraced the new medium-combining their savvy skill as filmmakers with a limitless curiosity to explore the new possibilities afforded by the instantaneous and inexpensive medium of video.
		Deciding that the raucous songs she was producing would spoil the lush mood of his camerawork, Kuchar dumps the contemporary noise in favor of a classical sound more in tune to his visual style.
		(George Kuchar, 2000, 5 min.) Pictures that were snapped in the digital camera's photo mode became the jumping off point for this point and shoot theme which features the upcoming stage performance of a friend of George's.
	www.mdfilmfest.com /2000/filmdetail/kuchar_video.html (376 words)

	[No title]
		George Kuchar, a legendary figure in New York's underground film scene, has also applied his wildly original sensibility to video.
		Kuchar's unorthodox methodology is to record single events in real time and then insert or overlay subsequent "scenes," an ingenious strategy that results in a quirky, textured layering of narrative time.
		Writes Kuchar: "George Kuchar was born in New York City in 1942 and is one of a twin (Mike Kuchar is the other half).
	www.eai.org /eai/biography.jsp?artistID=313 (543 words)

	glbtq >> arts >> Kuchar, George
		According to George, "At the age of twelve I made a transvestite movie on the roof and was brutally beaten by my mother for having disgraced her, and also for soiling her nightgown." Mrs.
		Kuchar's reaction was the Kuchars' first bad review, but it is a testimony to how endearing they and their work are that by the mid-1960s she was making regular cameo appearances in her sons' work.
		The Kuchars were innovative exhibitors as well, setting up informal cinema clubs to show their work, which scandalized some of the attendees with its sexual frankness, anarchistic air, laughable plots, and grade-Z special effects.
	www.glbtq.com /arts/kuchar_g.html (968 words)

	Cabinet Magazine Online - Storm Squatting at El Reno
		Kuchar's career as a media artist began at age twelve, when he and his twin brother Mike began filming 8mm recreations of B-grade 1950s Hollywood horror films on the roof of their Bronx apartment building.
		Following their "discovery," the Kuchars' films played at numerous festivals and at art houses like New York's Bleecker and Thalia, and the twins were canonized as favorite outsiders within the American cinematic avant-garde of the 60s.
		In spite of their early acceptance by what was to become the Anthology Film Archives set, the Kuchars have always retained a peripheral position in that group, more analogous to that of the juvenile class clowns than full-fledged adult members.
	www.cabinetmagazine.org /issues/3/stormsquatting.php (1220 words)

	Maryland Film Festival 2000
		George Kuchar has been a professor in the Filmmaking Department at San Francisco Art Institute since 1971.
		Kuchar worked as a commercial artist while making 8mm and 16mm films which were embraced by the underground movie scene of the 1960s.
		Kuchar has won the Maya Deren Award from the American Film Institute, a National Endowment for the Arts grant, a Worldwide Video Festival First Prize Award and a Los Angeles Film Critics Award.
	www.mdfilmfest.com /2000/filmdetail/kuchar_film.html (631 words)

	stewartlee.co.uk - reviews and writing (Site not responding. Last check: 2007-10-08)
		Fortuitously, the Kuchars were introduced to Jack Stevens, a patron of Kenneth Anger and Warhol, and their work found a more appreciative audience at his Fulton Fish Market screenings, despite the brothers arriving among the bereted bohemians in their smartest suits.
		Kuchar's best known 1960s work, Hold Me While I'm Naked (1966), an inexplicably hilarious, abstract meditation on the tribulations of a film-maker (George Kuchar), is also featured tomorrow night.
		Perhaps Kuchar's finest moment is Thundercrack (1974), made when he and Curt McDowell, a student, snaffled a substantial sum from two heirs to the Burger King fortune to make a porn film.
	www.stewartlee.co.uk /writing/writing_ku1998.html (858 words)

	Hold Me While I'm Naked: Notes on a Camp Classic
		Kuchar's starring turn as the director of the film-within-the-film is humorously self-parodic from the outset.
		In one scene, accompanied by music of almost painful poignancy, Kuchar lifts onto his fingertip an imitation bird from the branch on which it is incongruously perched.
		In Kuchar's tenderness toward the fake bird, we can detect another central feature of camp: “the equivalence of all objects.” (6) The whole charade is a drag act, a marvellous masquerade party, and yet “being-as-playing-a-role” is being nonetheless.
	www.sensesofcinema.com /contents/cteq/04/32/hold_me_while_im_naked.html (1212 words)

	home
		To Mike Kuchar, each film exists as a separate entity unto itself, a culmination of the specific collaborative energies, talents, looks and ideas involved, the result of fugitive mixtures and situations which could never be duplicated or re-staged.
		George's employment as a film teacher at the San Francisco Art Institute for almost thirty years now as also contributed to his somewhat broader recognition.
		Combined Kuchar Brothers retrospectives screen periodically in America at venues such as New York's Film Forum, where in July of 1999 their early S-8 films were presented.
	www.othercinema.com /otherzine/mkuchar.html (5141 words)

	George Kuchar
		George Kuchar and his twin brother, Mike, were born in Manhattan in 1942.
		George was trained as a commercial artist in a vocational high school and upon graduation drew weather maps for a local news show.
		When laid off from the commercial art job he never returned to what he calls “that nightmare world.” Kuchar was offered a teaching job in the film department of the San Francisco Art Institute, where he has taught since the early 1970s.
	www.graphicclassics.com /pgs/kuchar.htm (167 words)

	Willamette Week \| Screen (Site not responding. Last check: 2007-10-08)
		The working-class Kuchars were a striking contrast to the downtown hipsters and beatniks who went to screenings at the Gramercy Arts Theater, but films like I Was a Teenage Rumpot (1960) were big hits, going on to influence the most important of underground filmmakers.
		In 1965 the Kuchars switched to 16mm productions; more importantly, it was the year the brothers began to explore their individual visions.
		George's first solo endeavor was Corruption of the Damned (1965), a noir-style action film he describes thus: "Big in everything it says, big in everything it does, this picture bursts from its girdle of traditional Hollywood pyrotechnics and falls all over the place in a paroxysm of flabby sensuality, senselessness and insanity."
	www.wweek.com /html/screenb070400.html (650 words)

	Pleasure Dome
		In the 1980s, underground film pioneer George picked up a video camera, the lowest and most despised medium, to record his daily life as if it was worthy of a larger-than-life Hollywood movie.
		News of a second wind – a Kuchar renaissance – cut sharply through the air in the past three years and provoked Pleasure Dome, A.K.A. the Centre for Canadian Kuchar Worship, to showcase some of George’s 21st-century work.
		These recent tapes are suffused with even more tragedy and melancholic self-regard as George enters his sixties, his liverspots proliferate, his hair thins out, and his belly continues its journey outward.
	www.pdome.org /july08_05.html (260 words)

	Eye - George Kuchar and Robert Kennedy - 07.07.05
		At Cinecycle on Friday (July 8), Pleasure Dome's "Truth Wrapped in Trash and Vice Versa: George Kuchar at Sixty-Two" includes a program of mostly new works by one of the American film underground's most industrious figures.
		A filmmaker since he was 12, Kuchar has spent the last two decades documenting the minutiae of his life on video.
		Though he's full of cantankerous observations about the world around him (especially in regard to his ailing mother and often ill-fated cats), this big lug is also capable of startling insights.
	www.eye.net /eye/issue/issue_07.07.05/film/film.html (669 words)

	kucharbrothers
		The Kuchar Brothers, George and Mike are Bronx natives who began their careers in the 1950s making amateur 8mm short films.
		The Kuchars deal with the subjects of friendship, love, and lust with reckless abandon - end results being occasionally disturbing and often hilarious.
		Blending the high drama of Hollywood with the lowbrow humor of the underground, their films are recognized as paving the way for filmmakers such as David Lynch and John Waters.
	www.ihousephilly.org /kucharbrothers.htm (393 words)

	Bright Lights Film Journal \| The Kuchar Brothers (1)
		Underground filmmaker George Kuchar goes one step further when confronted with the loss of a key actor: he writes the event into the film and actually finds it inspiring.
		It would not be the last time an actress refused to shoot a provocative scene for George, but no roadblock erected by feminine modesty could impede the steamrolling progress of one of his scripts once a downhill momentum had been gained and the brakes had been greased by reams of florid dialogue.
		George’s later literary reminiscences of a Bronx childhood would throb with the same lurid glow that characterized his films.
	www.brightlightsfilm.com /26/kuchar1.html (2478 words)

	CULT OF THE CUBICLES (Site not responding. Last check: 2007-10-08)
		George Kuchar was one of the first media artists to embrace the video camcorder and remains one of its most prolific advocates.
		Since he is almost always the star of his tapes as well as our point of reference (i.e., he also runs the camera), his work constitutes a fascinating convergence of autobiography, biography and fiction.
		In Cult of the Cubicles, George Kuchar returns to New York and tracks down some old high school chums: "We meet other people too and the city is always there making noises of some sort.
	www.thekitchen.org /MovieCatalog/Titles/CultCubicles.html (134 words)

	U B U W E B - Film & Video: George Kuchar
		Anyone who lived in such a world would be mad inside an hour.
		But the utter insanity, the insanity of perverted cliche, is the genuine unwholesome appeal of Kuchar's outlook.
		In its economy and cogency of imaging, HOLD ME surpasses any of Kuchar's previous work.
	www.ubu.com /film/kuchar.html (759 words)

	Canyon Cinema: The Films of George Kuchar
		Having nothing to do with racial tensions, HOUSE OF THE WHITE PEOPLE is actually a chunk of film removed from a bigger chunk called UNSTRAP ME. It is a documentation of George Segal creating the basic elements for one of his statues preceded by rare glimpses into his own private museum.
		George Kuchar's lovingly farcical re-creation of those (Forties and Fifties) melodramas, THE DEVIL'S CLEAVAGE, is a camp parody that sometimes directly steals from the genre, sometimes burlesques it, and often travesties it.
		But leave the exact details to pedants, laughter's the thing here.� Kuchar manages terribly well in terms of imagination and inventiveness, and just plain terribly in terms of such humdrum details of filming as using a light meter and tape recorder.
	www.canyoncinema.com /K/Kuchar.html (2496 words)

	Thundercrack, the Film: Official site of the film and collector's DVD (Site not responding. Last check: 2007-10-08)
		Directed by Curt Mcdowell and written by zany, noted underground film-maker George Kuchar, "Thundercrack!" (midnight) is erotica at its most hilarious —and long-winded (two and one-half hours).
		Gloriously overwritten by George Kuchar, and directed by the late Curt McDowell (who was one of Kuchar's first students), it's a torrent of comically-lit cliches, heated to the point of lurid parody.
		One guy has a fear of ladies' girdles, another is the Christian wife of a country-western singer, a few more were in a car wreck, and George Kuchar himself shows up (and steals the show) while transporting circus animals....
	www.thundercrackthefilm.com /reviews.asp (393 words)

	Artists (Site not responding. Last check: 2007-10-08)
		George Kuchar is one of the most exciting and prolific independent videomakers working today, a true master of genre manipulation and subversion.
		He has created dozens of brilliantly edited, hilarious, observant, often diaristic tapes with an 8mm camcorder, dime-store props, and not-so-special effects, using friends as actors and the “pageant that is life” for his studio.
		In 1992, Kuchar received the prestigious Maya Deren Award for Independent Film and Video Artists from the American Film Institute.
	www.freewaves.org /festival_2002/artists/kuchar_g.htm (76 words)

	Movie Database - tvguide.com (Site not responding. Last check: 2007-10-08)
		Underground filmmaker George Kuchar delivers this weakly structured and ponderous look at a 65-year-old man who decides to start living.
		He even manages to stop in on sculptor George Segal as well as pay a visit to Ringling Brothers' deserted circus headquarters.
		George Kuchar (based on the story "The Trip to Chicago" by Walter Gutman)
	online.tvguide.com /movies/database/showmovie.asp?MI=25141 (114 words)

	Kuchar 8mm manifesto
		Leonard Lipton (from Popular Photography), Al Leslie, Serge Gavronsky, Mike and George Kuchar, and a number of others were on the panel.
		That's why the Kuchars are going to 16mm to have bigger leaves in their movies.
		Yes, 8mm is a tool of defense in this society of mechanized corruption because through 8mm and its puny size we come closer to the dimension of the atom.
	www.othercinema.com /otherzine/8mm.htm (653 words)

	All the titles from c-d (Site not responding. Last check: 2007-10-08)
		Kuchar collaborated with his production class at the San Francisco Art Institute to make this video, which he describes as "a fast-paced tale of tragedy and betrayal set in a hospital with many skeletons in the closet."
		Anderson's Carmen, who works in a tobacco factory, is as strong- willed and carefree as the original (she steals cigarettes off the assembly line, smokes defiantly under a "No Smoking" sign, and rides her motor scooter through the scenic streets of Seville dreaming of love).
		The somber, fall foliage is dotted with George's visit to his ailing mother's hospital bedside, and happy children trick or treating.
	www.thekitchen.org /MovieCatalog/Titles/c-d.html (5131 words)

	The World Of George Kuchar - Moviefone
		The Kuchar Brothers (1) Filmmakers George Kuchar and Mike Kuchar: the original geniuses of cinema's bargain...
		Secrets of the Shadow World is a digital video epic ostensibly tracking George?s attempts to make a "big UFO movie," but it?s really an excuse to display...
		The World Of George Kuchar - Trailer - Showtimes - Cast - Movies...
	movies.aol.com /movie/the-world-of-george-kuchar/1331329/main (125 words)

	Amazon.com: Sins of the Fleshapoids: DVD: Bob Cowan,George Kuchar,Donna Kerness,Maren Thomas,Gina Zuckerman,Julius ... (Site not responding. Last check: 2007-10-08)
		Mike and his co-writer brother George were the godfathers of bargain basement cinema, pioneering a hilariously campy, lurid style between Ed Wood exploitation and Douglas Sirk melodrama.
		As Mike Kuchar's first 16mm film (and most widely recognized) it was of pivotal inspiration for contemporaries such as John Waters and David Cronenberg.
		Bob Cowan as Xar/Narrator, George Kuchar as Prince Gianbeno, Donna Kerness as Princess Vivianna, Maren Thomas as Melenka, Gina Zuckerman as Xar's Owner, Julius Middleman as Ernie, Bob Cowan as Xar/Narrator, George Kuchar as Prince Gianbeno, Donna Kerness as Princess Vivianna, Maren Thomas as Melenka, Gina Zuckerman as Xar's Owner, Julius Middleman as Ernie...
	www.amazon.com /exec/obidos/tg/detail/-/B000BKJ77Q?v=glance (1020 words)

	Films
		Six shorts directed by George Kuchar: "Hold Me While I’m Naked," "The Mongreloid,", "Forever and Always," "A Reason To Live," "Wild Night At El Reno" and "I, An Actress."
		George Kuchar, Bruce Conner, Andy Warhol et al plus British documentary on Paul Warhola.
		J.P. Carviere (Buñuel’s writer) interview, Salvador Dali’s "Grosplan" in Spanish and German, Alejandro Jodorowsky interview with Omar Shariff in French, George Kuchar piece.
	www.aes-nihil.com /film.html (568 words)

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