Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 23. Chapters: Alfonsas Andriu kevi ius, Alfredas Bumblauskas, Antanas Sutkus, Ar nas Matelis, Bronius Kutavi ius, Edvardas Gudavi ius, Eimuntas Nekro ius, Gintaras Rinkevi ius, Icchokas Meras, Jeronimas Ka inskas, Jonas Mekas, Jonas Vaitkus, Jurga Ivanauskait, Justinas Marcinkevi ius, Kazys Brad nas, M za Rubackyt, Ona Narbutien, Onut Narbutait, Oskaras Kor unovas, Osvaldas Balakauskas, Petras Geniu as, Rimantas Sakalauskas, Romualdas Po erskis, ar nas Bartas, ar nas Nakas, ar nas Sauka, Stasys Eidrigevi ius, Tomas Venclova, Violeta Urmana, Vytautas Barkauskas, Vytautas Juozapaitis, Vytautas Kavolis, Vytautas Kernagis. Excerpt: Jonas Mekas (Lithuanian pronunciation: born December 24, 1922) is a Lithuanian-born American filmmaker, writer, and curator who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals across Europe and America. In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas (1925-2011), were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946-48, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. Two weeks after his arrival, he borrowed the money to buy his first Bolex 16-mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel's pioneering Cinema 16, and he began screening his own films in 1953 at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street. In 1954, he became editor of Film Culture, and in 1958, began writing his "Movie Journal" column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative (FMC) and the Filmmaker's Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world's largest and most important repositories of avant-garde films. The films and the voluminous collection of photographs and paper documents (mostly from or about avant garde film makers of the 1950-1980 period) were moved from time to time based on Mekas' ability to raise grant money to pay to house the massive collection. At times, Mekas personally paid its housing rent and, at low points in external funding, he had to restrict access to the collection.