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TAKING NOTE: THE FILMS OF SAUL LEVINE

Saul Levine, New Left Note, 1968–82, strips from a color film in 8 mm, 27 minutes 45 seconds.

Saul Levine has been one of the most underrated filmmakers in the American avant-garde cinema throughout his more than forty-year-long career. His one-man program at the New York Film Festival last year was his first, although he had been included in group screenings there before. The five films selected were so old (made between 1967 and 1983) that they were promoted as restored artifacts. Only in the past decade has New York’s Anthology Film Archives devoted occasional programs to him. Yet if someone were to write a critical history of the avant-garde cinema in Boston (as David E. James did for Los Angeles in his magisterial 2005 book, The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles), Levine would be its hero. He seldom leaves the city, where, as a professor at the Massachusetts College of Art, he has been one of the most influential teachers

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