FILM SECTION
VI SI TI NG FI LMMAKER SERI ES THURSDAY SEPTEMBER 11, 1980 MUSEUM OF ART THEATRE 8 : 00
FILM SECTION MUSEUM OF ART CARNEGI E I NSTI TUTE
VI SI TI NG FI LMMAKER STEPHANI E BEROES PRESENTS HER FI LMS VALLEY FEVER, DEBT BEGI NS AT 20
RECI TAL,
and
St ephani e Ber oes i s a f i l mmak er whos e c a r e e r i n t he c i nema has deep t i es t o her nat i v e c i t y o f Pi t t s bur gh. Her f i r s t i n t e r e s t i n f i l m was s t i mu l a t e d by an " u n d e r gr ound" s er i es at Car negi e Mel l on Uni v er s i t y and was no ur i s he d by t he on - goi ng pr o g r a ms at t he Car negi e I ns t i t ut e. I nt e r es t ed i n gai n i ng an hi s t or i c al per s pec t i v e, she pur s ued f i l m s t udi es at t he Uni v er s i t y o f Pi t t s bur gh, t ak i ng c l as s es wi t h Bi l l J uds on. Ms. Ber oes has s t at ed t hat i t " was v er y d e f i ni t e l y t he c r i t i c al anal y s i s of f i l m. . . whi c h awak en ed me t o ' what ' s what ' i n c i ne ma . . . a n d c o ns eq ue nt l y i nt r i gued me t o at t empt f i l mmak i ng my s el f . " Cl ear l y , her pr og r e s s i o n f r om i ns pi r ed f i l m v i e w er t o f i l mmak er f ul f i l l s ev er y f i l m c u r a t o r and t eac her ' s dr eam. Ms. Ber oes wo r k i n t he c i nema has al s o been s t r o ng l y i nf l uenc ed by Pi t t s bur gh Fi l mMak er s ' , wher e s he s er v ed as a f oundi ng me mb e r a n d i n augur at ed t he s c r e eni ng r oom pr ogr am. I n 1974 Ms. Ber oes began t o ma k e he own f i l ms : s hor t poet i c wor k s l i k e LI GHT SLEEPI NG, SEPTEMBER and APRI L; a f i l m- hi s t or i c al wo r k ( THE AMERI CAN MUTOSCOPE COMPANY) , and a doc ume nt ar y on Pi t t s bur gh ur ban r enewal ( THE ATWOOD STREET RENOVATI ON AMD BEAUTI FI CATI ON PROJ ECT) . I n 1976 Ms. Ber oes mo v e d t o San Fr anc i s c o t o pur s ue a Ma s t er of Fi ne Ar t s i n Fi l m. Ther e s he made SHADOWPLAY, an ab s t r a c t poet i c wor k , and RECI TAL wh i c h i s par t o f t he pr ogr am t hi s ev eni ng. I n 1978, wh i l e t e ac hi ng a t Ar i z ona St at e Uni v er s i t y , s he s hot VALLEY FEVER, wh i c h was c o mp l e t e d at Pi t t s b ur gh Fi l m- Ma k e r s ' . DEBT BEGI NS AT 20, whi c h c hr o ni c l es l oc al punk r oc k mus i c and c ul t ur e, was ma d e i n Pi t t s bur gh. ; For t he pas t f ew s ummer s Ms. Ber oes has t our ed Engl and and Ger many wi t h pr ogr ams of av ant - gar de f i l m, bot h her own and t hos e o f o t h e r f i l mmak er s . RECI TAL ( 1978) c o l o r / s o u n d 20 mi n. I n Th e Sec ond Sex Si mone de Be a u v o i r di s c us s es t he s i t u at i o n o f t he wo ma n i n l ove. Her poi nt " i s t hat t he e x pe r i en c e o f be i n g i n l ov e i s di f f er en t f or me n and women i n ou r s oc i et y . As Lor d By r on on c e put i t : " Man' s l ov e i s o f man' s l i f e a t hi ng apar t . ' Ti s a woma n' s wh o l e ex i s t enc e. " As de Be au v o i r i n s i ght f ul l y r emar k s , howev er , t hi s i s not a bi ol ogi c al , but r a t h er a c ul t ur al di f f er enc e. Gi v en woman' s t r adi t i onal s ens e o f her own i nf er i or i t y , " Ther e i s no o t h e r wa y out f or her t han t o l os e her s el f , bo d y and s oul , i n hi m wh o i s r e pr es en t e d t o her as t he abs ol ut e, as t he es s ent i al . " St ephani e Ber oes f i l m, RECI TAL, addr es s es t he howev er , t o a Lawr en t i an r eadi ng o f t he s i t u at t r an s c endenc e— Ber oes t ak es a mo r e di s t anc ed l t hat v i ews t he s i t uat i on as f r ought l es s wi t h
s t at i o nook ec s t
RECI TAL i s a hi ghl y s t r u c t ur ed f i l m. Eac h s ec t i s ome ex t er nal l oc al e, r e adi ng a l et t er o r ot h e r not t he aut hor s of t he wor ds t hey r ead. Th e i r wor ds , ar e dead gi v e- away s of t he u n f a mi l i ar i t y
e o f " woman i n l ov e. " As oppos ed, - a c a s c a d e o f i mages of er ot i c at t he phenomenon. And i t i s one as y t han wi t h r i s k and pai n.
on i nv ol v es a woman, s i t u at ed i n t ex t . I t i s c l ea r t hat t he wo me n ar e s t i l t ed del i v er y , t hei r t r oubl e wi t h wi t h t he t ex t s .
The f i r s t l et t er i s r ead by a wo ma n r ec l i ni ng on a r i dge ov er l o o k i n g t he s ea - - a v er i t abl e Bay Ar ea pi c t ur e po s t c a r d s et t i ng. Th e t ex t s he r eads i s l et t er ex pr es s i ng t he pai n of unr e qui t ed l ov e, t he aby s s o f f r us t r at ed pas s i on. The l et t er , howev er , i s r ead i n a monot one, wi t h o u t any peak s o f f eel i ng, s o t hat ul t i ma t e l y we f i nd i t l as s mov i ng t han c l i c he. Thi s pa t t er n o f l ov e- l et t e r r ec i t al i s r e peat ed wi t h s e v e r al ot he r r eader s : one s t umbl es ov e r c e r t ai n wor ds ; a n o t h e r br eak s up l aughi ng when s he c omes t o t he pas s age: " Oh, y es , I l ov e y ou, I l ov e y ou. " Cl ear l y , t he s ubj ec t i s not one of t r ue c omedy , pa r t i c u l a r ed ar e ones Ber oes onc e ea r n es t l y c ompos ed. Ber oes goal , t anc ed de c ons t r uc t i on of t he ex per i enc e, i n an at t empt t o k nowl edge and t i me. Be ha v i n g ot he r peopl e r ec i t e t he l et
l y s i nc e t he l et t er s r ec i t howev er , i s a k i nd of di s v i ew i t wi t h t he l es s ons of t er s , Ber oes br eak s t he
spel l or t he r omant i c f ant asy, and al l ows t he Vi ewer a di st anced per spect i ve, Or cour se what appear s t o t he capt i ve l over as amor ous t r anscendence, appear s t o t he det ached obser ver as mer e bondage. Der oes po i nt i n par t i c ul ar , howev er , i s t hat t hi s s t a t e o f dependenc e i s a pe c u l i a r l y f emal e s y ndr ome. Thi s s he mak es c l ear i n o t h e r t ex t s r ead i n t he f i l m: ones d i s c us s i ng p a t e r n al i s m i n t he ar t wor l d, o r t he s ex ual bi as o f l anguage. The f i l m ends wi t h t he r et ur n o f t he f i r s t woma n r eader wh o c r umpl es up t he or i gi nal l et t er t o t he s t r ai ns of Bi l l i e Hol i day s i ngi ng " Lov er man wh e r e c a n y o u be?" The f i l m i s not onl y i nt er es t i ng f or i t s at t e mp t t o c r i t i que t he phenomen on o f f emal e mas oc hi s m, but al s o f or i t s us e of l anguage. I n one of t he l et t er s r ead t her e i s a s t at ement ab out how wo me n s houl d " k eep q u i e t ". Cl ear l y Ber oes has dec i ded not t o heed t hat t i me - wo r n ad v i c e . " Her s o undt r ac k i s c o mp os ed en t i r e l y o f wo men' s wor ds - - her own as wel l as t hos e of Car ol ee Sc hneeman, Cas ey Mi l l e r and Ka t h l e en Fr az i er . Thr ough t he di s t anc ed j u x t ap os i t i on of wor d s a n d i mage, and t he pr ogr es s i on of i deas wi t hi n t he t ex t s t hems el v es - - Ber oes ac c omp l i s hes a t r ue r e - c i t a l ; t hat i s, a r er eadi ng of pas t ex per i enc es gi v en s hape ov e r t i me. VALLEY FEVER ( 1978) c ol o r / s o un d 25 mi n. Though a v er y di f f er ent f i l m, VALLEY FEVER s har es c e r t ai n c onc er ns wi t h RECI TAL. Agai n, Ber oes i s i nt er es t ed i n t he l oc us o f i ndi v i dual per c ept i on. Her e, howev er , i s l es s c onc er n wi t h emot i on t han wi t h t he bounds o f human c ons c i ous nes s . Li k e RECI TAL, t he f i l m i s al s o hi ghl y s t r uc t ur ed, and r ev ol v es ar ound t he r eadi ng o f v ar i ous t ext s. The f i l m i nv ol v es t wo " c har ac t er s " , a wo ma n and a man, who, ac c or di ng t o Ber oes " c ar r y on a di s j unc t i v e c o n v e r s a t i o n . . . about t he ef f ec t s o f i l l nes s on per c ept i on. " Whi l e t he man r eads f r om a s c i ent i f i c t r ea t i s e on t he s y ndr ome o f f ev er , t he wo ma n c hoos es t he wor ds o f Mer l eau- Pont y , ex pl ai ni ng her ex per i en c e i n mor e phenomenol ogi c al t er ms. Th ey s how eac h ot her f i l m f oot age i n an at t empt t o v i s ual i z e and ex c hange t hei r per c ept i ons . But ul t i mat el y t he f i l m c onf i r ms t h ei r i nabi l i t y t o " s ee ey e t o eye. " I n her c hoi c e o f c i nema as a me d i u m of " ex c hange" wi t h i n t he f i l m, Ber oes al s o poi nt s t o t he di l emma of t he ar t i s t , and t he pr obl emat i c s of c o mmu n i c a t i n g one' s s i ngul ar v i s i on t o t he l a r g e r wor l d. DEBT BEGI NS AT 20 ( 1979)
s o und/ bl ac k and wh i t e
40 mi n.
Ber oes ' l at es t wo r k i s qui t e di f f er en t f r o m her ot her f i l ms , Us i ng a l ar gel y doc ument ar y f or mat s he pai nt s a po r t r ai t of punk c u l t u r e i n Pi t t s b ur gh - - t he mus i c , t he l i f e- s t y l e, t he s oc i al s t anc e. Onc e mor e, howev er , t he f i l m i s hi ghl y s t r uc t ur ed. Shot s of Th e Car dboar ds ' dr ummer ( Bi l l Bor ed) at home, , f or ex ampl e, ar e i nt er c ut wi t h i mages of t he band per f or mi ng; and s hot s of peopl e bei ng " i nt er v i ewed" at a par t y ar e r egul ar l y i nt er c ut wi t h gr oups pl ay i ng mus i c . The f i l m al s o i nt er mi x es do c u me nt ar y and ac t ed f oot age, and mak es gr eat us e o f c apt i ons and " s ubt i t l es " a s . c o u n t e r poi nt s t o t he v i s ual s . Agai n we s ee Ber oes ' c o nc er n wi t h l anguage; f or i n punk r oc k mus i c t he i r oni c l y r i c s ar e par amount - - be t hey f r om The Ca r d b o a r d s ' " Low Lev el Radi t i on, " or t he Dy k e s 4 " TWo Fi nger Wide. . " ' , The c a r t oo n- l i k e c apt i ons and s ubt i t l es f u r t her dr aw our at t ent i on t o t he v er bal di s c our s e. For Ber oes , t he Pi t t s bur gh punk p h e n o men on - - The Car dboar ds , The Shak es , Hans Dr i nk er , and t he Dy k e s — i s a br and of f ol k " or " pr i mi t i v e" ar t . I n k e ep i n g wi t h t hi s s t y l e, s h e has c hos en not t o ma k e a s l i c k r oc k - and- r ol l d o c u me n t a r y — a WOODSTOCK or MONTEREY POP. As W. T. Kol t ek o f WYEP Radi o has s t at ed: " Be r o e s ' ba nd f oot age i s a r adi c al depar t ur e f r om t he gr i mmi cr y of s t e r e o t y ped r oc k ba nd doc u ment ar y i n i t s us e of pans and s l ow d o l l ey s , c apt ur i ng smal l gl i mps es of t he mus i c i ans at wo r k t hat a " PR" f i l m wo u l d hav e av oi ded at al l c ost s. J us t as t he mu s i c of t he Car d boar ds c h al l enges t he c l i c hes o f punk as muc h as i t does t hos e of ea r l i e r pop f or ms , s o does t he c i nemat ogr aphy demand a r e c o ns i der at i on o f t he r oc k band doc ument ar y ' s hoar y t e c h ni cal v oc abul ar y . " — Luc y Fi s c her
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FILM SECTION MUSEUM OF ART CARNEGI E I NSTI TUTE
VI SI TI NG FI LMMAKER STEPHANI E BEROES PRESENTS HER FI LMS VALLEY FEVER, DEBT BEGI NS AT 20
RECI TAL,
and
St ephani e Ber oes i s a f i l mmak er whos e c a r e e r i n t he c i nema has deep t i es t o her nat i v e c i t y o f Pi t t s bur gh. Her f i r s t i n t e r e s t i n f i l m was s t i mu l a t e d by an " u n d e r gr ound" s er i es at Car negi e Mel l on Uni v er s i t y and was no ur i s he d by t he on - goi ng pr o g r a ms at t he Car negi e I ns t i t ut e. I nt e r es t ed i n gai n i ng an hi s t or i c al per s pec t i v e, she pur s ued f i l m s t udi es at t he Uni v er s i t y o f Pi t t s bur gh, t ak i ng c l as s es wi t h Bi l l J uds on. Ms. Ber oes has s t at ed t hat i t " was v er y d e f i ni t e l y t he c r i t i c al anal y s i s of f i l m. . . whi c h awak en ed me t o ' what ' s what ' i n c i ne ma . . . a n d c o ns eq ue nt l y i nt r i gued me t o at t empt f i l mmak i ng my s el f . " Cl ear l y , her pr og r e s s i o n f r om i ns pi r ed f i l m v i e w er t o f i l mmak er f ul f i l l s ev er y f i l m c u r a t o r and t eac her ' s dr eam. Ms. Ber oes wo r k i n t he c i nema has al s o been s t r o ng l y i nf l uenc ed by Pi t t s bur gh Fi l mMak er s ' , wher e s he s er v ed as a f oundi ng me mb e r a n d i n augur at ed t he s c r e eni ng r oom pr ogr am. I n 1974 Ms. Ber oes began t o ma k e he own f i l ms : s hor t poet i c wor k s l i k e LI GHT SLEEPI NG, SEPTEMBER and APRI L; a f i l m- hi s t or i c al wo r k ( THE AMERI CAN MUTOSCOPE COMPANY) , and a doc ume nt ar y on Pi t t s bur gh ur ban r enewal ( THE ATWOOD STREET RENOVATI ON AMD BEAUTI FI CATI ON PROJ ECT) . I n 1976 Ms. Ber oes mo v e d t o San Fr anc i s c o t o pur s ue a Ma s t er of Fi ne Ar t s i n Fi l m. Ther e s he made SHADOWPLAY, an ab s t r a c t poet i c wor k , and RECI TAL wh i c h i s par t o f t he pr ogr am t hi s ev eni ng. I n 1978, wh i l e t e ac hi ng a t Ar i z ona St at e Uni v er s i t y , s he s hot VALLEY FEVER, wh i c h was c o mp l e t e d at Pi t t s b ur gh Fi l m- Ma k e r s ' . DEBT BEGI NS AT 20, whi c h c hr o ni c l es l oc al punk r oc k mus i c and c ul t ur e, was ma d e i n Pi t t s bur gh. ; For t he pas t f ew s ummer s Ms. Ber oes has t our ed Engl and and Ger many wi t h pr ogr ams of av ant - gar de f i l m, bot h her own and t hos e o f o t h e r f i l mmak er s . RECI TAL ( 1978) c o l o r / s o u n d 20 mi n. I n Th e Sec ond Sex Si mone de Be a u v o i r di s c us s es t he s i t u at i o n o f t he wo ma n i n l ove. Her poi nt " i s t hat t he e x pe r i en c e o f be i n g i n l ov e i s di f f er en t f or me n and women i n ou r s oc i et y . As Lor d By r on on c e put i t : " Man' s l ov e i s o f man' s l i f e a t hi ng apar t . ' Ti s a woma n' s wh o l e ex i s t enc e. " As de Be au v o i r i n s i ght f ul l y r emar k s , howev er , t hi s i s not a bi ol ogi c al , but r a t h er a c ul t ur al di f f er enc e. Gi v en woman' s t r adi t i onal s ens e o f her own i nf er i or i t y , " Ther e i s no o t h e r wa y out f or her t han t o l os e her s el f , bo d y and s oul , i n hi m wh o i s r e pr es en t e d t o her as t he abs ol ut e, as t he es s ent i al . " St ephani e Ber oes f i l m, RECI TAL, addr es s es t he howev er , t o a Lawr en t i an r eadi ng o f t he s i t u at t r an s c endenc e— Ber oes t ak es a mo r e di s t anc ed l t hat v i ews t he s i t uat i on as f r ought l es s wi t h
s t at i o nook ec s t
RECI TAL i s a hi ghl y s t r u c t ur ed f i l m. Eac h s ec t i s ome ex t er nal l oc al e, r e adi ng a l et t er o r ot h e r not t he aut hor s of t he wor ds t hey r ead. Th e i r wor ds , ar e dead gi v e- away s of t he u n f a mi l i ar i t y
e o f " woman i n l ov e. " As oppos ed, - a c a s c a d e o f i mages of er ot i c at t he phenomenon. And i t i s one as y t han wi t h r i s k and pai n.
on i nv ol v es a woman, s i t u at ed i n t ex t . I t i s c l ea r t hat t he wo me n ar e s t i l t ed del i v er y , t hei r t r oubl e wi t h wi t h t he t ex t s .
The f i r s t l et t er i s r ead by a wo ma n r ec l i ni ng on a r i dge ov er l o o k i n g t he s ea - - a v er i t abl e Bay Ar ea pi c t ur e po s t c a r d s et t i ng. Th e t ex t s he r eads i s l et t er ex pr es s i ng t he pai n of unr e qui t ed l ov e, t he aby s s o f f r us t r at ed pas s i on. The l et t er , howev er , i s r ead i n a monot one, wi t h o u t any peak s o f f eel i ng, s o t hat ul t i ma t e l y we f i nd i t l as s mov i ng t han c l i c he. Thi s pa t t er n o f l ov e- l et t e r r ec i t al i s r e peat ed wi t h s e v e r al ot he r r eader s : one s t umbl es ov e r c e r t ai n wor ds ; a n o t h e r br eak s up l aughi ng when s he c omes t o t he pas s age: " Oh, y es , I l ov e y ou, I l ov e y ou. " Cl ear l y , t he s ubj ec t i s not one of t r ue c omedy , pa r t i c u l a r ed ar e ones Ber oes onc e ea r n es t l y c ompos ed. Ber oes goal , t anc ed de c ons t r uc t i on of t he ex per i enc e, i n an at t empt t o k nowl edge and t i me. Be ha v i n g ot he r peopl e r ec i t e t he l et
l y s i nc e t he l et t er s r ec i t howev er , i s a k i nd of di s v i ew i t wi t h t he l es s ons of t er s , Ber oes br eak s t he
spel l or t he r omant i c f ant asy, and al l ows t he Vi ewer a di st anced per spect i ve, Or cour se what appear s t o t he capt i ve l over as amor ous t r anscendence, appear s t o t he det ached obser ver as mer e bondage. Der oes po i nt i n par t i c ul ar , howev er , i s t hat t hi s s t a t e o f dependenc e i s a pe c u l i a r l y f emal e s y ndr ome. Thi s s he mak es c l ear i n o t h e r t ex t s r ead i n t he f i l m: ones d i s c us s i ng p a t e r n al i s m i n t he ar t wor l d, o r t he s ex ual bi as o f l anguage. The f i l m ends wi t h t he r et ur n o f t he f i r s t woma n r eader wh o c r umpl es up t he or i gi nal l et t er t o t he s t r ai ns of Bi l l i e Hol i day s i ngi ng " Lov er man wh e r e c a n y o u be?" The f i l m i s not onl y i nt er es t i ng f or i t s at t e mp t t o c r i t i que t he phenomen on o f f emal e mas oc hi s m, but al s o f or i t s us e of l anguage. I n one of t he l et t er s r ead t her e i s a s t at ement ab out how wo me n s houl d " k eep q u i e t ". Cl ear l y Ber oes has dec i ded not t o heed t hat t i me - wo r n ad v i c e . " Her s o undt r ac k i s c o mp os ed en t i r e l y o f wo men' s wor ds - - her own as wel l as t hos e of Car ol ee Sc hneeman, Cas ey Mi l l e r and Ka t h l e en Fr az i er . Thr ough t he di s t anc ed j u x t ap os i t i on of wor d s a n d i mage, and t he pr ogr es s i on of i deas wi t hi n t he t ex t s t hems el v es - - Ber oes ac c omp l i s hes a t r ue r e - c i t a l ; t hat i s, a r er eadi ng of pas t ex per i enc es gi v en s hape ov e r t i me. VALLEY FEVER ( 1978) c ol o r / s o un d 25 mi n. Though a v er y di f f er ent f i l m, VALLEY FEVER s har es c e r t ai n c onc er ns wi t h RECI TAL. Agai n, Ber oes i s i nt er es t ed i n t he l oc us o f i ndi v i dual per c ept i on. Her e, howev er , i s l es s c onc er n wi t h emot i on t han wi t h t he bounds o f human c ons c i ous nes s . Li k e RECI TAL, t he f i l m i s al s o hi ghl y s t r uc t ur ed, and r ev ol v es ar ound t he r eadi ng o f v ar i ous t ext s. The f i l m i nv ol v es t wo " c har ac t er s " , a wo ma n and a man, who, ac c or di ng t o Ber oes " c ar r y on a di s j unc t i v e c o n v e r s a t i o n . . . about t he ef f ec t s o f i l l nes s on per c ept i on. " Whi l e t he man r eads f r om a s c i ent i f i c t r ea t i s e on t he s y ndr ome o f f ev er , t he wo ma n c hoos es t he wor ds o f Mer l eau- Pont y , ex pl ai ni ng her ex per i en c e i n mor e phenomenol ogi c al t er ms. Th ey s how eac h ot her f i l m f oot age i n an at t empt t o v i s ual i z e and ex c hange t hei r per c ept i ons . But ul t i mat el y t he f i l m c onf i r ms t h ei r i nabi l i t y t o " s ee ey e t o eye. " I n her c hoi c e o f c i nema as a me d i u m of " ex c hange" wi t h i n t he f i l m, Ber oes al s o poi nt s t o t he di l emma of t he ar t i s t , and t he pr obl emat i c s of c o mmu n i c a t i n g one' s s i ngul ar v i s i on t o t he l a r g e r wor l d. DEBT BEGI NS AT 20 ( 1979)
s o und/ bl ac k and wh i t e
40 mi n.
Ber oes ' l at es t wo r k i s qui t e di f f er en t f r o m her ot her f i l ms , Us i ng a l ar gel y doc ument ar y f or mat s he pai nt s a po r t r ai t of punk c u l t u r e i n Pi t t s b ur gh - - t he mus i c , t he l i f e- s t y l e, t he s oc i al s t anc e. Onc e mor e, howev er , t he f i l m i s hi ghl y s t r uc t ur ed. Shot s of Th e Car dboar ds ' dr ummer ( Bi l l Bor ed) at home, , f or ex ampl e, ar e i nt er c ut wi t h i mages of t he band per f or mi ng; and s hot s of peopl e bei ng " i nt er v i ewed" at a par t y ar e r egul ar l y i nt er c ut wi t h gr oups pl ay i ng mus i c . The f i l m al s o i nt er mi x es do c u me nt ar y and ac t ed f oot age, and mak es gr eat us e o f c apt i ons and " s ubt i t l es " a s . c o u n t e r poi nt s t o t he v i s ual s . Agai n we s ee Ber oes ' c o nc er n wi t h l anguage; f or i n punk r oc k mus i c t he i r oni c l y r i c s ar e par amount - - be t hey f r om The Ca r d b o a r d s ' " Low Lev el Radi t i on, " or t he Dy k e s 4 " TWo Fi nger Wide. . " ' , The c a r t oo n- l i k e c apt i ons and s ubt i t l es f u r t her dr aw our at t ent i on t o t he v er bal di s c our s e. For Ber oes , t he Pi t t s bur gh punk p h e n o men on - - The Car dboar ds , The Shak es , Hans Dr i nk er , and t he Dy k e s — i s a br and of f ol k " or " pr i mi t i v e" ar t . I n k e ep i n g wi t h t hi s s t y l e, s h e has c hos en not t o ma k e a s l i c k r oc k - and- r ol l d o c u me n t a r y — a WOODSTOCK or MONTEREY POP. As W. T. Kol t ek o f WYEP Radi o has s t at ed: " Be r o e s ' ba nd f oot age i s a r adi c al depar t ur e f r om t he gr i mmi cr y of s t e r e o t y ped r oc k ba nd doc u ment ar y i n i t s us e of pans and s l ow d o l l ey s , c apt ur i ng smal l gl i mps es of t he mus i c i ans at wo r k t hat a " PR" f i l m wo u l d hav e av oi ded at al l c ost s. J us t as t he mu s i c of t he Car d boar ds c h al l enges t he c l i c hes o f punk as muc h as i t does t hos e of ea r l i e r pop f or ms , s o does t he c i nemat ogr aphy demand a r e c o ns i der at i on o f t he r oc k band doc ument ar y ' s hoar y t e c h ni cal v oc abul ar y . " — Luc y Fi s c her
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