How Amos Vogel changed American film culture

magazine. “I have gone through the intense garden of your book with the inducement of a fruit longtime forbidden,” Luis Buñuel, a Spanish surrealist director, wrote of Amos Vogel’s “Film as a Subversive Art”. Hollywood’s industry publication proclaimed the book “the stuff of revolution”. Published in 1974, Vogel’s volume is a rigorous catalogue of rule-breaking, mind-expanding and sometimes outright censored works of cinema.

As 2021 marks the centenary of Vogel’s birth, the Austrian Film Museum has hosted a series dedicated to his life and work called “100 Years of Subversion”. Out of print for years, “Film as a Subversive Art” was recently republished in a new edition that faithfully reproduces Vogel’s encyclopedia and its glorious collection of film stills—a riot of exposed flesh, grim political violence, absurd slapstick and unnamable oddities hatched by avant-gardes, revolutionaries and eccentrics.

His descriptions made the experimental and outré works accessible, demonstrating new ways of seeing and arousing the reader’s curiosity. He called Vera Chytilova’s “Daisies”, a banned Czech film about two young women’s wild adventures, a “mad, stylist Dadaist comedy”, promising an “orgy of spectacular visual delights, sensuous decor, and magnificent colour experiments”.

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