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Stylistically, one thinks, for instance, of certain of Jonas Mekas’s diaristic films, with their naive and at the same time cultivated look, or of what was referred to as the “Underground” in the United States in the early to middle 1960s (like Ron Rice’s Flower Thief, 1960, with Taylor Mead). Such are useful comparisons up to a point, but what is perhaps most interest-ing about the ...
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