Abstract
In Lost Lost Lost, Jonas Mekas, the filmmaker, critic and underground cinema advocate, retraces his first years in the United States. Starting at a sequence in the last reel of film that symbolizes his adaptation to the new world, we would like to investigate the consolidation, in the 1960s, of the avant-garde cinema culture in New York in its relation with the art system, that has moved after the post war from Europe to the United States.
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