The booklet accompanying the Rhino Records audio compilation, The Beat Generation, includes quite a good list of sources, including books by the principals and about the scene, films from the time -- most set in the subculture or incorporating "beatniks and beat chicks" -- and more recent films about individuals or the scene, television programs, exploitation novels, and parodies. To add to Gloria's list of films: The Beatniks Beat Girl (aka Wild For Kicks) Color Me Blood Red (Herschell Gordon Lewis exploitation pic) Expresso Bongo (UK production; haven't seen it, but great title, eh?) Fried Shoes, Cooked Diamonds (doc) The Interview (Ernest Pintoff animation) Jack Kerouac's Road (doc, from National Film Board of Canada) Jazz on a Summer's Day (doc about Newport Jazz Festival) Kerouac: The Movie (doc) The Life and Times of Allen Ginsberg (doc) On the Bowery (low-budget drama on the downtown margins) The Subterraneans (MGM adaptation of Kerouac novel) Towers Open Fire (William S. Burroughs collaboration) There are also plenty of Hollywood films that include representations of beat-types or bohemians -- for instance, Bells are Ringing and My Sister Eileen. For further information, commentary, and sources, let me refer you to: David E. James, Allegories of Cinema: American Film in the Sixties (Princeton: Princeton Univ. Press, 1989); Moody Street Irregulars, no. 22-23 (Winter 1989-90), an issue of the Jack Kerouac Newsletter devoted to film and the beats; and, with all due immodesty, my dissertation, "The New American Cinema and the Beat Generation, 1956-1960," Northwestern Univ., 1984. It discusses beat culture at some length, with case studies of On the Bowery (Lionel Rogosin), Shadows (John Cassavetes), Pull My Daisy (Robert Frank and Alfred Leslie), and Jazz on a Summer's Day (Bert Stern), in order to outline a moment in independent filmmaking in the US when interests of narrative, experimental, and documentary cinema converged. (If you can hang on for one last toot on my own horn, part of one chapter was published as "The Making (and Unmaking) of Pull My Daisy," in Film History 2, no. 3 (1988) -- a more accessible source than the diss. itself.) For reasons that should be self-evident, I'd be interested in what you come up with, Tammy. Let me know, if you like. Blaine Allan [log in to unmask] Film Studies Queen's University Kingston, Ontario Canada K7L 3N6