"Who Wants to Die for Art!?!?!"
The Family That Shoots and Kills People at Random From Inside Its Barricaded New York City Apartment as Society Crumbles Around Them, Stays Together: "Little Murders" [Alan Arkin, 1971, USA]
The Psychopath as Artiste-Provocateur: "The Incident" [Larry Peerce, 1967, USA]
Decapitating the Mindless Artist: "Toby Dammit" [Federico Fellini, 1968, Italy] / Cannibalizing the Corporeal Artist: "Satyricon" [Federico Fellini, 1969, Italy]
"Who Wants to DIE for Art?!": “Female Trouble” [John Waters, 1974, USA] and the Artistic Apotheosis of Crime
The Assassin as the Ultimate Underground Artist: "The Day of the Jackal" [Fred Zinnemann, 1973, UK/France]
Only Artists Left Alive: “Only Lovers Left Alive” [Jim Jarmusch, 2013, UK/Germany]
The Artist as Failed Transcendent and Successful Collaborator: “Young Man With a Horn” [Michael Curtiz, 1950, USA]