While auteur theorists and art house idealists may be the face of film as a respectable art forms, I have always felt a stronger connection to pulp and if box office numbers are to be believed so too does most of the medium’s audience. The moving picture was conceived of as low brow entertainment, a staged magical act that was taken to an extreme, and the lifeblood of films has always been audience pleasing and often vacuous entertainment.
It would be as wrong to generalize the creators of pulp as being purely artless hacks, or even as exploitative, just as it would be wrong to generalize high brow directors as snooty and pretentious academics. Sometimes great artists get their start in low and mid tier productions like the so called ‘Corman Film School.’ But to me the true artists of pulp are usually not widely admired. Enter Albert Pun, described by some as the 90’s answer to Ed Wood and like Ed Wood he surrounds otherwise generic scripts with his own eccentricities and interests.
Pyun’s most notable work was enable by the huge video market and the lower level production companies that popped up to facilitate the demand. He was involved with the infamous Golan Globus company and pumped out quite a few films blending martial arts action, cheap post apocalyptic settings, and many cyborgs. Many of these films define the 90’s style and the strange, fetishistic tropes that were inescapable at the time in a way that only films made for the unique video industry at the time can.