"For me, this film is about the pleasure of entering into an outsider’s observations of one’s own territory. A German filmmaker comes to rural Wisconsin in the mid-1970s, and sees things that I might take for granted, and shows how ridiculous or moving they are. The emotional range is tremendous. Herzog is not afraid of symbolism. The ending, featuring a dancing chicken in a highway rest stop sideshow, is absurdly devastating."

"My all-time favorite film is unequivocally The Man Who Would Be King. I love the film. First of all, I love John Huston; I love Sean Connery; I love Michael Caine. I just think it’s one of the best examples of classic 1970s action adventure epics that I’ve ever seen and I don’t know how many times I’ve seen it, maybe a dozen times. It’s my favorite movie of all time."

"The only novel really to do anything true with the waves of revolt in Italy in the mid and late 1970s (until I wrote mine, heh). The voice here is transfixing. The end is so incredibly moving. You will need to adapt to Balestrini’s style of forgoing punctuation, but once you do, you’ll be riding a bike with no hands on the bars and you won’t even notice that you, too, are doing something new."

"A film of perfectly realized proportions about broken marriages and failed utopian ideals. Slyly understated and very funny, this portrait of a Swedish commune in the mid 1970s is filled with vivid, affectionately-drawn characters, incredibly sympathetic children, and, in the end, a profoundly moving final scene. When I have lost hope in humanity (which sadly occurs more frequently than I would like) I re-watch this stirringly beautiful film and feel my faith in the world restored."

"This is the lone book that doesn’t touch upon textile arts, but I would be remiss to not mention Princenthal’s exploration of the rise of gender-based art, born of an era of increased sexual violence against women. From Yoko Ono’s Cut Piece to Emma Sulkowicz’s 2014 piece Carry That Weight, Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s looks at how women artists create work in response to living with the constant threat of sexual violence"

"Charles Burnett. It’s a really incredible film, shot all in black and white, 1970s, it’s Watts in Los Angeles. And it’s this guy who works in a slaughterhouse. They put it out in theaters, I think a year and a half ago, and I raced out to go see it live. The soundtrack is just so provocative, it’s so of that time. It was shot for less than $10,000…It’s a remarkable, remarkable film, and when you watch it, it’s just so profound."