punk as a genre is hard to tie dwon., the term punk
cinema could mean exactly what you describe and does --
things more indie than indie made to a lowtech esthetic
both on purpose and cause that's all they could get.
seciondhand cameras...the d.i.y. concept comes into play
-- and of course punk especially amond developed
sophisticated and developed artists means doing things
in ways that are not at all in line with traditionally
established "corporate' cinematic methods.  they are
video a lot as well too.  most often very little known
except in certian circles -- not 'establishment.'

then there are films which come from mainstream movie
houses but acknowledge punk culture.  notables include
SLC punk which i have not seen in entirety. you'd have
to rent it.  and also 1984 classic REPO MAN is utterly
about punk, a scifi horror story with eighties punks
providing lots of the color and acting and almost all
the music.

others might have different leads. repo man IS ALL ABOUT
punks in cali in the eighties and estevez is real
convincing. fighting and drinking and basic disinterest
and disillusionment.  it may be one of the major
hollywood films to almost do american punks justice.

a clockwork orange is about punk values and behaviors
even though it is in a fictional not real world setting
they are a lot like some views of punks.

Sid and nancy.  also haven't seen it -- about punk icons
sid vicious and nancy spungen. some say worth seeing.

good luck that should be fun to do.

the entymology:

the word 'punk' -- it is incence.  people would hold it.
it smouldered and burned.  punks are often inscenced.
you have to think about it cause the idea of people
standing around holding smoking things is where the
world punk -- iam serious -- began to be applied to
people rather than just the incense.

punk is a movement born of desparation -- it is the
energy the hippies had but prepared for what happened --
a cultural crucirfixtion -- of the hippies -- a whole
posture of ebeing a lot more tough and more indifferent
to decay.  leftist philosiophies like anarchism and
socialism/marxism became associated with some punk.  it
started in britain, so in britain sex pistols are
something you should know about if you really want to
understand. it's a harsh world but if you sincerely
understand parts of it are so fun that yiu can
understand why peopel adopt punk as a lifestyle.  but
it's hard to understand. in some ways it is the modern
human beings reverting reactionary to staid culture and
boredom by bcome neotribal.  if you were to insepct punk
with a sociologist's eye you would no doubt find enbough
to fill a lot of books.


also --
nihilism and rebellion
and then there is cyberpunk which is new and includes
making technology hip and themse of despration and
extreme pathos -- and lines blurring between man and
machine. cyuberpunk m,ovies are moe obvious. blade
runner. the terminator and matrix sseries. jonny
mnemonic. these are cyberpunk films -- although some to
be fair have called the gener cyberpunke because it
tends to take advantage of corporate riches to attempt
to co-opt a cultural movement.  it's gone up and down
and people have all kinds of opinions.

punk is as close to 'chaotic' as an artistic genre has
come since perhaps Dada.  it has been sneered at by
intelligentsia who don't understand what it representes.
 or even if they did as it has often representeed the
shattering of cultural barriers. there are few truly
'punk' films -- although there are many films that make
true punks cringe because of caricature-interpretations
of what they are.
mikal x


--- Mike Frank <[log in to unmask]> wrote:

> one of the problems with teaching film -- as opposed
> to, say, romantic
> poetry or greek philosophy -- is that often enough
> students are up to
> date on stuff one has barely heard of . . . and that's
> happening to me
> right now
>
> i have a student writing a paper on "punk cinema"  --
>  and i know nothing
> about it . . . from what i've been able to pick up,
> punk cinema would be
> something like garage band rock and roll, movies made
> on a shoestring,
> perhaps with no real distribution, and expressing a
> posture of personal
> rebellion . . .  but my student uses the term to
> include lots of films
> that
> are much more slick than this,
> including--remarkably--REQUIEM FOR
> A DREAM, with its nearly 5 million dollar budget and
> an oscar nomination
> for its lead actor . . . for her the term seems almost
> identical what
> we're now calling "independent cinema" . . . i'm
> therefore at a loss for
> how to respond to her work
>
> if anyone can give me either some basic commentary on
> this term and
> concept . . . or reliable bibliographical leads, i'd
> be very grateful
>
> mike
>
> *
> *
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