This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

EXPRMNTL fut probablement la plus importante manifestation jamais consacrée au cinéma expérimental. Conçu et organisé par Jacques Ledoux et la Cinémathèque royale de Belgique, le festival de Knokke / Bruxelles, qui ne connut que cinq éditions (1949, 1958, 1963, 1967, 1974) jouit aujourd'hui d'un statut mythique. Cette initiative singulière et inclassable fut bien davantage qu'un simple festival de cinéma : un point de rencontre pour la création d'avant-garde et la pensée contemporaine, un événement placé sous le signe de l'imprévu, du désir et de la contestation, y compris celle du festival même. En somme : une manifestation à ce point cohérente avec son objet qu'elle fut en elle-même une expérience. Cette recherche retrace l'histoire des cinq éditions du festival, de sa naissance à sa disparition. Elle se fonde sur les archives de la manifestation, jusqu'ici inexplorées, sur les comptes-rendus parus dans la presse de l'époque et sur de nombreux entretiens avec des acteurs et témoins. / EXPRMNTL was probably the most important event ever devoted to experimental cinema. Designed and organized by Jacques Ledoux and the Royal Belgian Film Archives, the festival of Knokke / Brussels, which only had five editions (1949, 1958, 1963, 1967, 1974) now enjoys a mythical status. This unique and unclassifiable initiative was more than just a film festival: a meeting point for avant-garde culture and contemporary thinking, an event placed under the sign of the unexpected, desire and protest, including that of the festival itself. In short: an event so consistent with its object that it was in itself an experience. This research traces the history of the five editions of the festival. It is based on the hitherto unexplored archives of the event, the reports published in the press at the time and many interviews with protagonists and witnesses.

Twentieth-century environmentalist discourse often laid the blame for environmental degradation on Western civilization, and presented the religious traditions of the East as offering an ecocentric antidote to Western dualism and anthropocentrism. Gary Snyder has looked to Chinese and Japanese Buddhism to inform his environmentalist poetry and prose. While Snyder often writes in terms of a dualism of East and West, he synthesizes traditional forms of Buddhism with various Western traditions, and his green Buddhism ultimately undermines more simplistic oppositions of East and West. The first chapter reads Snyder's writing of the mid-1950s alongside several of his West Coast contemporaries - Kenneth Rexroth, Allen Ginsberg, Michael McClure, Philip Whalen and Jack Kerouac - showing that these writers evoked the natural world together with Buddhist themes before the advent of the modern environmental movement in order to mount a critique of Cold War American culture. Snyder's early interest in Buddhism was motivated largely by translations of Chinese poetry and Chapter Two examines his own translations of the Tang Dynasty poet Hanshan. In Snyder's translations and contemporaneous original poetry, Buddhist poetics mingle with American conceptions of wilderness. Chapter Three shows how Snyder's Buddhism was influenced by Anglophone writers such as D.T. Suzuki and Alan Watts, and argues that from the late 1960s Snyder aimed to Americanize Buddhism as ideas of localism became more central to his environmentalism. Chapter Four examines Snyder's synthesis of Hua-yen Buddhism and Western scientific ecology in the 1970s and 1980s. Chapter Five examines 'The Hokkaido Book,' an unfinished prose work on environmental attitudes in the Far East in which Snyder considers the relationship between the civilized and the primitive. Chapter Six examines the influence of Chinese landscape painting and Japanese No drama, two forms steeped in Buddhist ideas, on the poems of 'Mountains' and 'Rivers Without End'.

ABSTRACT Lucy Brandão s poetry, produced among the 70s, 80s and 90s of the 20th century, is characterized as a happening of the modern Alagoana Literature, by its expansionist, emancipative, renewable and democratic movement, in Néstor Garcia Canclini s sense (2003). Her poetry is borne on a negative and dissonant lyricism that has been already studied by Hugo Friedrich (1978). She performed her urban repentes and produced hybrid objects of art by mixing several languages and using a dense relation with ethics and aesthetics of existence, rare in her time. By the way, she joined the big refusal called counterculture in the occidental world, in a vanguard behaviour with the forefront of the post-60 maceioense artists that nourished themselves with the utopian reserves from the 19th century and the beginning of the 20th century. Her voice registers, in the urban maceioense country, a singular aesthetic happening that promoted a transcultural trance in the traditional and the beat generation up-todating. / A poesia de Lucy Brandão, produzida entre as décadas de 70, 80 e 90, caracteriza-se como evento da modernidade alagoana, por seu movimento expansionista, emancipador, renovador e democratizador, na acepção de Néstor Garcia Canclini (2003). Portadora de uma negatividade lírica dissonante, já estudada por Hugo Friedrich (1978), fazendo uso de várias linguagens, Lucy Brandão performatizava seus repentes urbanos e produzia outros objetos artísticos híbridos em uma relação visceral com uma ética e estética da existência, rara em seu tempo. Nessa perspectiva, torna-se adepta da grande recusa que foi o movimento da contracultura no mundo ocidental, em uma atitude de vanguarda, integrando uma frente de artistas maceioenses pós-60 que se nutriu de reservas utópicas advindas do século XIX e início do século XX. Sua voz registra, no espaço urbano maceioense, um acontecimento estético singular que coloca em transe transculturador a atualização da tradição e da ruptura.

Esta dissertação busca mapear as redes de artistas, intelectuais e eventos responsáveis, na década de 1970, por introduzir discussões e linguagens da arte contemporânea no eixo Sul do Brasil. Para tanto, debruça-se sobre os maiores centros urbanos da região, cujos campos artísticos estão mais bem estruturados e são mais longevos, as capitais Curitiba (PR) e Porto Alegre (RS). Por meio especialmente de pesquisa de arquivo e entrevistas, são analisadas as especificidades socioculturais e políticas que conformaram as condições para a emergência de um campo de liberdade artística e ruptura de cânones dos chamados anos de chumbo do regime ditatorial ao início do período da redemocratização. Privilegiam-se, nos estudos de caso, ações coletivas e experimentais ligadas aos conceitualismos nas artes visuais que procuraram romper com as tradições e discursos regionalistas, expandindo as fronteiras estatais , concebidas por agentes envolvidos com o pensamento contracultural em voga a partir do final dos anos 1960. / This dissertation seeks to map the networks of artists, intellectuals and events responsible, in the 1970s, for introducing discussions and languages of contemporary art in the Southern axis of Brazil. As such, it focuses on the regions largest urban centers, the capitals Curitiba (PR) and Porto Alegre (RS), whose artistic fields are better structured and longer-lived. Especially through archival research and interviews, the sociocultural and political specificities that shaped the conditions for the emergence of a field of artistic freedom, of rupture from canons, are analyzed from the so-called anos de chumbo of the dictatorial regime to the beginning of redemocratization. In the case studies, greater attention is given to collective and experimental actions linked to conceptualisms in visual arts which sought to break from regionalist traditions and discourses, expanding the state boundaries conceived by artists involved with the countercultural thinking, in vogue since the early 1960.

Esta tese trata de uma parcela minoritária da arquitetura paulista que foi partícipe da Contracultura brasileira, no período de 1956-1979. O trabalho teve como eixo temático a trajetória dos arquitetos Lina Bo, Sérgio Ferro, Rodrigo Lefèvre, Flávio Império, Eduardo Longo, Vitor Lotufo e Pitanga do Amparo; constatou a singularidade de suas produções em relação ao contexto hegemônico; analisou obras exemplares dessas produções através do re-desenho e levantamentos in loco; identificou correspondências entre tendências contemporâneas internacionais e o debate de ideias e ideais com a cena cultural ampliada às áreas de música, teatro, jornalismo, literatura, artes plásticas e cinema. A autonomia teórica e crítica e o comportamento diferenciado dos arquitetos elencados, constituiu-se num questionamento ao status quo sóciocultural, à linha hegemônica da Escola Paulista Brutalista e ao Estilo Internacional. Os projetos, da denominada Arquitetura Alternativa, se distinguiram pelas soluções plásticas, uso de materiais e técnicas construtivas vernaculares ou adotando novas abordagens, repúdio à serialização ou industrialização e busca de fontes de legitimação mediante interfaces multidisciplinares. A Arquitetura Alternativa, é, portanto, uma produção à margem da hegemonia que, por integrar a Contracultura brasileira, participou da Revolução Cultural que ocorreu em diversos países ocidentais nos anos 1950 e 1970. / This thesis deals with a minor portion of the São Paulo state architecture that was part of the Brazilian Counterculture in the period of 1956-1979. The work had as main theme the trajectory of the architects Lina Bo, Sergio Ferro, Rodrigo Lefèvre, Flávio Império, Eduardo Longo, Vitor Lotufo and Pitanga do Amparo, and established the uniqueness of their productions in relation to hegemonic context; evaluated exemplary works of these productions through the re- drawing and on-site surveys; and identified correspondences among contemporary international trends and the debate of ideas and ideals with the cultural scene extended to the areas of music, theater, journalism, literature, visual arts and cinema. The theoretical and critical autonomy and the differentiated behavior of the architects listed, constituted in a challenge to the \"status quo\" social and cultural, to the hegemonic line of the \"Escola Paulista Brutalista\" and to the International Style. The designs, of the denominated Alternative Architecture, were distinguished by plastics solutions, use of vernacular materials and construction techniques or adopting new approaches, rejection to serialization or industrialization and search for sources of legitimation by multidisciplinary interfaces. The Alternative Architecture is therefore, a production on the sidelines of the hegemony, which by integrating the Brazilian Counterculture, attended the Cultural Revolution that occurred in many Western countries in the 1950s and 1970s

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[pt] Este projeto se propõe a estudar o percurso feito por dois realizadores de cinema – um brasileiro, Carlos Reichenbach, e um argentino, Alberto Fischerman. Ambos partiram dos movimentos da chamada contracultura dos anos 60 e 70 e, poucos anos mais tarde, estiveram envolvidos com produções de pretensões notadamente comerciais e de forte apelo popular. Portanto, o estudo trata dos contextos em que essa produção se realizou e se estende à recepção crítica tida pelos filmes. Ao observar estes filmes e sua crítica, o estudo propõe duas questões. Primeiro: em que medida estes realizadores, mesmo realizando obras inseridas no esquema de produção mercantil da indústria de cinema, trouxeram aos filmes marcas de seu percurso, adicionando doses de transgressão e ironia aos contextos francamente vulgares. Em seguida, analisar como se deu o movimento da crítica diante destas obras apelativas e transgressoras. Para isso, a comparação entre os contextos de dois diferentes países pode enriquecer a análise. / [en] This project analyzes the works of two filmmakers – the Brazilian Carlos Reichenbach, and the Argentinian Alberto Fischerman. Both have made their first films linked to counterculture movements of the 60s and 70s. A few years later, both of them became involved with exploitation productions. This study looks into the historical contexts in which these productions took place. It will also analyze the way both features were received by film critics. By focusing on these two films and the critical film writing they inspired, this study proposes two questions. First: If these directors, even when doing their exploitation works, have embedded in their productions doses of transgression and irony, which turned upside down what was originally an openly vulgar context. We will also look into the way the critics reacted to this subversive exploitation. In order to better grasp this reception by film pundits, a comparison between the two distinct contexts of Brazil and Argentina can enrich the analysis.

North Texas State University and the surrounding Denton community enjoyed a quiet college atmosphere throughout most of the 1960s. With the retirement of President J. C. Matthews in 1968, however, North Texas began witnessing the issues most commonly associated with the turbulent decade, such as the struggle for civil rights, the anti-Vietnam War movement, the fight for student rights on campus, and the emergence of the Counterculture. Over the last two years of the decade, North Texas State University and the surrounding community dealt directly with the 1960s and, under the astute leadership of President John J. Kamerick, successfully endured trying times.

The 1960s counterculture had a huge impact on American society and questioned many of the American values in order to replace them with their own ideas. Even thought the first trace of youth's revolt against the older generation appeared in the 1950s, it was in the 1960s when the young generation fully rose up and started to fight for their goals. The 1960s counterculture can be divided into two parts, the New Left and the hippies, which both comprised of many different groups and organizations, among them for example the Black Panthers, the Weatherman, Students for a Democratic Society or Vietnam Veterans Against the War. These organizations engaged in many different issues like a civil rights movement or an antiwar movement. The tool for spreading countercultural values was an art - until nowadays countercultural impact is still visible especially in music. Even thought the countercultural movement gradually became radical and in the end of the 1960s split up, its impact on American society is undeniable in some issues such as drug use, perception of sexuality or questioning authorities.