THE LIST OF TEENAGE FILMMAKERS associated with the New American Cinema during its late-1960s glory days includes Barbara Rubin, Warren Sonbert, George Landow, and Robert Beavers.To these we can add Edward Owens (1949–2009), whose precocious 16-mm movies gathered dust on the shelves of the Film-Makers’ Cooperative for decades until Ronald Gregg programmed them at the University of Chicago in 2006 as part of the series “Beyond Warhol, Smith, and Anger: Recovering the Significance of Postwar Queer Underground Cinema, 1950–1968.”
It was in that context that the critic Fred Camper saw Tomorrow’s Promise (1967) and Private Imaginings and Narrative Facts (1968–70). Owens’s unearthed movies “aren’t great, but they’re very good,” he posted:
They both show the influence of Gregory J. Markopoulos, and it turns out that Owens was a student at the School of the Art Institute, doing painting and then
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