Filming Detroit VI
—for Joseph Cornell
“When he reached the other
side of the bridge, the phantoms
came to greet him.”
—F. W. Murnau, Nosferatu (1922)
The idea of adding kitschy camp to the repertoire of the surreal filmmaking process is nothing new—but American kitsch added gay connotations to surreal cinema very different in many ways from Breton’s patriarchal straight-laced hetero-straitjacketed surrealist manifesto agenda.
Jack Smith’s kitschy surrealism was closer to the Thirties Lesbos-Parisian surrealism of Gertrude Stein-Djuna Barnes-Mina Loy—with such works as “Nightwood,” “The Lost Lunar Baedker” and “The Autobiography of Alice B. Toklas.”
Only in America could people believe that Maria Montez was Cobra Woman, Siren of Atlantis and Scheherazade. Jack Smith also became entranced with most Dorothy Lamour sarong flix—in that turbulent Sixties milieu along with other cult film intelligentsia: Kenneth Anger, Andy Warhol, John Cassavetes, Edgar G. Ulmer, Jonas Mekas, Stan Braklage, Ron Rice, Ken Jacobs, etc.
These filmmakers shared the surrealists’ taste for the tawdry exoticism of despised film genres—junky spectacles, cheap horror flicks, anonymous pornography.
The same with the surrealist’s favorite movie Josef von Sternberg’s “The Shanghai Gesture” (1941)—which they improvised into delirious fantasy elaborations based on their “irrational enlargement” filmic method.