Keller and Ward, "Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster"
1. What has changed in the gallery art world that allows Barney to describe his work as “sculpture”? In other words, how has the definition of sculpture changed since the 1960s, and why?
The definition of sculpture has moved from its earlier direct objectified meaning towards a looser definition that encompasses many differing artistic practices and particularly with minimalism the loss of the object and introduction of performance as sculpture.
2. Tricky but important question: Why was minimalist sculpture seen as a reaction against the “modernist hymns to the purity and specificity of aesthetic experience.” Hint: Do not confuse this with our discussion of structural / minimal film as modernist; they are essentially saying that minimalist sculpture is post-modernist.
Minimalist sculpture opposed the traditional modernist aesthetic relationship of the viewer and the sculpture. By disrupting the medium specific creating"what might be seen as inert and passive objects." the veiwers had to discover the meaning of the artwork through their temporal and spatial relationship with the object vs. the modernist which draws the veiwers attention to the object only.
3. Describe the role of the body in the works of Vito Acconci and Chris Burden.
The Body became a part of the sculpture in their earliest works that they were involved with using the body, later they used the bodies to call particular attention to the actual activity as the work of art, erasing the commodity and objectification of the sculpture.
4. What do the authors mean when they say that Cremaster’s “genealogy in endurance works has a dual articulation”? What are the two influences?
Cremaster approaches endurance both as a physical application to the performance in the film coming the from the performance art tradition of Burden and Abramovic. It also plays upon the endurance of the viewer in the tradition of the avant-garde temporal tradition. The temporal endurance being influenced by such filmmakers as Andy Warhol and Micheal Snow.
5. In the opinion of the authors, what are the key differences between performance art of the1960s/1970s and Barney’s Cremaster cycle?
The main difference is that the performance art of the 60's and 70's functioned against the art object and any commodification of such focusing on the ephemeral action as the work of art itself. Barney's Cremaster cycle funcioned to create object commodities in its creation (Relics: the objects in the films) and of its creation (Traces: the film itself).
Walley, "Modes of Film Practice in the Avant-Garde"
1. What are the so-called two worlds of film art that Walley intends to describe in this article? What is the basic difference between the two?
Walley intends to describe the world of the 'avant-gatrde' or 'experimental' film and the world the 'artists' film/video'. Basically the first world is the cinematic film-makers that believe in film-making as a craft and the latter is the artistic gallery film-makers that believe in film as a object of artistic expression.
2. What is meant by “mode of film practice”? Give two famous examples on non-experimental modes of film practice. Why does Walley argue that the concept of the mode of film practice can help distinguish between the experimental film and gallery art worlds?
"Mode of film practice" is meant to refer to the stylistic norms and forms which are shaped, and supported by the specific production, distribution, exhibition, and reception processes.
3. What are some of the key differences between the experimental and gallery art worlds in terms of production and distribution?
Friday, April 10, 2009
Saturday, March 21, 2009
Response 8
Marc Masters, “The Offenders: No Wave Cinema”
1. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
Like the punk musicians just picked up a guitar with little experience the no wave filmmakers just picked up a camera and started shooting. They organized everything themselves with the same independent spirit of the musicians. They created a community where each member helped eachother on their projects and rotated roles in the filmmaking process like musicians rotated instruments.
2. In what ways was punk/no-wave filmmaking a reaction to the avant-garde film institutionalization of the 1970s?
They made films that were intentionally melodramatic and non-intellectual. The films were intended as spectacles which an open audience (outside of the art houses) could freely converse (as loud as they wanted) with and of the films as they wish or not.
3. Which filmmakers are cited as influences on Amos Poe, Eric Mitchell, and Vivienne Dick (to the point that they "re-worked" earlier films)?
The nouvelle vague and particularly Jean-Luc Godard was influential to Amos Poe he attempted to mimic Breathless with Unmade Beds. Mitchell and Vivienne Dick were particularly influenced by Andy Warhol. Mitchell's film Kidnapped was inspired by Vinyl and Dick's Guerillere Talks was inspired by Warhol's Screen Tests.
4. What were the exhibition venues for punk/no-wave films such as those by Beth B. and Scott B., and how did the venues affect film content and style?
The Films they made were made in intention to reflect the reality of the lower east side which is where the films were screened.
Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”
5. What does Zryd mean by "double voicing" and what does Baldwin mean by "Fake right, go left"?
This was kind of unclear to me.
6. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why?
The "realist" use of found footage tries to bring the literal truth of the image itself to the attention of the viewer. Voice-Over would caption the event taking place montage would only intensify the time and space of the captured action. When used "figuratively", found footage draws attention to the metaphorical nature of the images or adjusts the meaning of the images. In Tribulation 99 the "figurative" use of found footage becomes most important. Most obviousley the Voice-Over does not caption the image it intends to create a new meaning in the corralation of the dialogue and the image.
7. Explain what Baldwin means by "media jujitsu"
Jujitsu as a martial art is intended as a means of using your opponents moves aginst them, so Baldwin's reference to "media jujitsu" could be interpreted as the way that the meaning of found footage can be manipulated to criticize its makers, makings and the original intentions of the film. It is particularly relevent with the iconic image which can be related to a particular culture's archetypes so that these iconic images can be used against the culure itself.
8. What does Zryd argue is the relationship between the use of clips from films such as Chariots of the Gods and Baldwin's critique of American foreign policy?
1. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
Like the punk musicians just picked up a guitar with little experience the no wave filmmakers just picked up a camera and started shooting. They organized everything themselves with the same independent spirit of the musicians. They created a community where each member helped eachother on their projects and rotated roles in the filmmaking process like musicians rotated instruments.
2. In what ways was punk/no-wave filmmaking a reaction to the avant-garde film institutionalization of the 1970s?
They made films that were intentionally melodramatic and non-intellectual. The films were intended as spectacles which an open audience (outside of the art houses) could freely converse (as loud as they wanted) with and of the films as they wish or not.
3. Which filmmakers are cited as influences on Amos Poe, Eric Mitchell, and Vivienne Dick (to the point that they "re-worked" earlier films)?
The nouvelle vague and particularly Jean-Luc Godard was influential to Amos Poe he attempted to mimic Breathless with Unmade Beds. Mitchell and Vivienne Dick were particularly influenced by Andy Warhol. Mitchell's film Kidnapped was inspired by Vinyl and Dick's Guerillere Talks was inspired by Warhol's Screen Tests.
4. What were the exhibition venues for punk/no-wave films such as those by Beth B. and Scott B., and how did the venues affect film content and style?
The Films they made were made in intention to reflect the reality of the lower east side which is where the films were screened.
Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”
5. What does Zryd mean by "double voicing" and what does Baldwin mean by "Fake right, go left"?
This was kind of unclear to me.
6. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why?
The "realist" use of found footage tries to bring the literal truth of the image itself to the attention of the viewer. Voice-Over would caption the event taking place montage would only intensify the time and space of the captured action. When used "figuratively", found footage draws attention to the metaphorical nature of the images or adjusts the meaning of the images. In Tribulation 99 the "figurative" use of found footage becomes most important. Most obviousley the Voice-Over does not caption the image it intends to create a new meaning in the corralation of the dialogue and the image.
7. Explain what Baldwin means by "media jujitsu"
Jujitsu as a martial art is intended as a means of using your opponents moves aginst them, so Baldwin's reference to "media jujitsu" could be interpreted as the way that the meaning of found footage can be manipulated to criticize its makers, makings and the original intentions of the film. It is particularly relevent with the iconic image which can be related to a particular culture's archetypes so that these iconic images can be used against the culure itself.
8. What does Zryd argue is the relationship between the use of clips from films such as Chariots of the Gods and Baldwin's critique of American foreign policy?
Sunday, March 1, 2009
Response 7
Sitney, “Structural Film”
1. How is structural film different from the tradition of Deren/Brakhage/Anger, and what are its four typical characteristics?
The tradition of Daren, Brakhage and Anger was to move towards complexity and a condensation of filmic form. The structural film moves in the opposite direction in which the shape of the whole film is predetermined and simplified, and it is that shape which is the primal impression of the film. The four characteristics of the structural film are its fixed camera position, the flicker effect, loop printing, and rephotography off the screen.
2. If Brakhage’s cinema emphasized metaphors of perception, vision, and body movement, what is the central metaphor of structural film? Hint: It fits into Sitney’s central argument about the American avant-garde that we have discussed previously in class.
I'm not really sure... it seems like the structural film relies the idea that what is seen is not by the eye but by the mind. The film form moves toward introspection.
3. Why does Sitney argue that Andy Warhol is the major precursor to the structural film?
Warhol already had been ridiculing high-art in his paintings and when he came into the avant-garde he turned his genius for parody and reduction against the American avant garde high-art film-making process. His first film Sleep was an incredible about face from the direction of the mythic, trance, or dream traditions of his contemporaries. Warhol disbounded the predominant beliefs in complexity and high-artist control by simplifying the premise of the film. He also uses three of the four characteristics of the structural film in his first film; the fixed camera position, loop printing, and a freeze frame that appears like off camera rephotography.
4. The trickiest part of Sitney’s chapter is to understand the similarities and differences between Warhol and the structural filmmakers. He argues that Warhol in a sense is anti-Romantic and stands in opposition to the visionary tradition represented by psychodrama/mythopoeic/lyrical films. But for Sitney’s central argument to make sense, he needs to place structural film within the tradition of psychodrama/mythopoeic/lyrical films. Trace the steps in this argument by following the following questions:
a. Why does Sitney call Warhol anti-Romantic?
Sitney refers to Warhol as anti-romantic because the simplicity of his films released the film from the complexity of the romantic tradition. Warhol came into the form of film to free it from the control of the artist. Warhol completely liberated the art film from the exagerated role of the artist. His films didn't have any intense connection to emotion or picturesque qualities typical of the romantic form. Warhol roots the beauty of art not in the "Elswhere" but in the here and now. As much as I understand how warhol is anti-romantic I do not really understand Koch's argument against such.
b. Why does Sitney argue that spiritually the distance between Warhol and structural filmmakers such as Michael Snow or Ernie Gehr cannot be reconciled?
Warhol became eventually became so compelled by the content of his films that he abandoned fixed camera position for his own version of in the camera editing. Filmmakers such as Micheal Snow or ernie Gehr took the fixed camera position toward a more precise contemplation of a specific space.
c. What is meant by the phrase “conscious ontology of the viewing experience”? How does this relate to Warhol’s films? How does this relate to structural films?
This one's kind of tough. I think the phrase is meant to describe how Koch saw the early Warhol films were basically studies of conciousness and perception. It relates to
d. Why does Sitney argue that structural film is related to the psychodrama/mythopoeic/lyrical tradition, and in fact responds to Warhol’s attack on that tradition by using Warhol’s own tactics?
Some lyrical film-makers,such as Brakhage or Ken Jacobs, had made extremely long films that were intended to be long soas to make a specific point. Warhol's films had an intention with duration to outlast the veiwers attention span. So that the veiwer would wander from the film itself. Later structural film films used this tactic as well as well as other spatial strategies not to allow the perception of the veiwer to wander freely, but to guide the wandering attention of the veiwer. Creating an orchestrated experience which stems from the lyrical tradition. At least I think so... This question might be good to clarify in class
5. What metaphor is crucial to Sitney’s and Annette Michelson’s interpretation of Michael Snow’s Wavelength?
6. What role does the materials of film play in the work of Michael Snow and Paul Sharits?
7. Summarize in your own words Sitney’s description of the structure and process of Hollis Framption’s Zorns Lemma
1. How is structural film different from the tradition of Deren/Brakhage/Anger, and what are its four typical characteristics?
The tradition of Daren, Brakhage and Anger was to move towards complexity and a condensation of filmic form. The structural film moves in the opposite direction in which the shape of the whole film is predetermined and simplified, and it is that shape which is the primal impression of the film. The four characteristics of the structural film are its fixed camera position, the flicker effect, loop printing, and rephotography off the screen.
2. If Brakhage’s cinema emphasized metaphors of perception, vision, and body movement, what is the central metaphor of structural film? Hint: It fits into Sitney’s central argument about the American avant-garde that we have discussed previously in class.
I'm not really sure... it seems like the structural film relies the idea that what is seen is not by the eye but by the mind. The film form moves toward introspection.
3. Why does Sitney argue that Andy Warhol is the major precursor to the structural film?
Warhol already had been ridiculing high-art in his paintings and when he came into the avant-garde he turned his genius for parody and reduction against the American avant garde high-art film-making process. His first film Sleep was an incredible about face from the direction of the mythic, trance, or dream traditions of his contemporaries. Warhol disbounded the predominant beliefs in complexity and high-artist control by simplifying the premise of the film. He also uses three of the four characteristics of the structural film in his first film; the fixed camera position, loop printing, and a freeze frame that appears like off camera rephotography.
4. The trickiest part of Sitney’s chapter is to understand the similarities and differences between Warhol and the structural filmmakers. He argues that Warhol in a sense is anti-Romantic and stands in opposition to the visionary tradition represented by psychodrama/mythopoeic/lyrical films. But for Sitney’s central argument to make sense, he needs to place structural film within the tradition of psychodrama/mythopoeic/lyrical films. Trace the steps in this argument by following the following questions:
a. Why does Sitney call Warhol anti-Romantic?
Sitney refers to Warhol as anti-romantic because the simplicity of his films released the film from the complexity of the romantic tradition. Warhol came into the form of film to free it from the control of the artist. Warhol completely liberated the art film from the exagerated role of the artist. His films didn't have any intense connection to emotion or picturesque qualities typical of the romantic form. Warhol roots the beauty of art not in the "Elswhere" but in the here and now. As much as I understand how warhol is anti-romantic I do not really understand Koch's argument against such.
b. Why does Sitney argue that spiritually the distance between Warhol and structural filmmakers such as Michael Snow or Ernie Gehr cannot be reconciled?
Warhol became eventually became so compelled by the content of his films that he abandoned fixed camera position for his own version of in the camera editing. Filmmakers such as Micheal Snow or ernie Gehr took the fixed camera position toward a more precise contemplation of a specific space.
c. What is meant by the phrase “conscious ontology of the viewing experience”? How does this relate to Warhol’s films? How does this relate to structural films?
This one's kind of tough. I think the phrase is meant to describe how Koch saw the early Warhol films were basically studies of conciousness and perception. It relates to
d. Why does Sitney argue that structural film is related to the psychodrama/mythopoeic/lyrical tradition, and in fact responds to Warhol’s attack on that tradition by using Warhol’s own tactics?
Some lyrical film-makers,such as Brakhage or Ken Jacobs, had made extremely long films that were intended to be long soas to make a specific point. Warhol's films had an intention with duration to outlast the veiwers attention span. So that the veiwer would wander from the film itself. Later structural film films used this tactic as well as well as other spatial strategies not to allow the perception of the veiwer to wander freely, but to guide the wandering attention of the veiwer. Creating an orchestrated experience which stems from the lyrical tradition. At least I think so... This question might be good to clarify in class
5. What metaphor is crucial to Sitney’s and Annette Michelson’s interpretation of Michael Snow’s Wavelength?
6. What role does the materials of film play in the work of Michael Snow and Paul Sharits?
7. Summarize in your own words Sitney’s description of the structure and process of Hollis Framption’s Zorns Lemma
Monday, February 23, 2009
Response 6
Robert Whitman, Prune Flat
1. How does this work relate to our discussion of intermedia and expanded cinema in the 1960s?
3. How does Edie Sedgewick end up "stealing" the scene in Vinyl?
Mike Getz was the first distributor to actually circuit underground films in packages for weekend midnight showings. He is most responsible for introducing underground movies to the American heartland. At Getz' cinema 12 in its height of 1969 films were being distributed to 22 different cities. Getz provided a framework for the midnight movie explosion of the 70's.
1. How does this work relate to our discussion of intermedia and expanded cinema in the 1960s?
Prune Flat is a great example of intermedia and expanded cinema because of the high focus of filmmaking as an installation and performance. The show moves from purely filmic to purely theatrical; With the use of actors who come on stage and meld with the projection and become distinctly separated from it at the end.
2. Describe a passage from Prune Flat in very concrete terms, and explain how film and performance are combined to create different images and/or illusions.3. How does Edie Sedgewick end up "stealing" the scene in Vinyl?
She wasn't intended to be in the film but Warhol threw her in at the last minute to balance out the composition. Apparently she had a very dynamic, spaced-out presence and the camera really picked up on her eyes. The film became a star vehicle for her even though she never really had a part and was thrown into the picture during the filming.
4. In what ways did the underground film begin to "crossover" into the mainstream in 1965-1966?My Hustler became Andy Warhol's first popular as opposed to critical success. Lots of people new to the underground came to see My Hustler. The Theater of the ridiculous opened up with a group organized by Tavel and directed by John Vaccaro to extended the concepts of underground film into the realm of theatrical performance. Expanded cinema and multi-media shows became important vehicle for the underground. They were quite aggressive in their sensory bombardment which made them perfect for the indulgence of psychedelic drugs acid, LSD, mushrooms, all very popular at the time. Warhol did the E.P.I with the Velvet Underground probably the hardest assault on the senses there had been in the form. Next was Chelsea Girls which was likely propelled by the drug culture that had recently become more and more followers of the underground scene.
5. How was John Getz an important figure in the crossover of the underground?Mike Getz was the first distributor to actually circuit underground films in packages for weekend midnight showings. He is most responsible for introducing underground movies to the American heartland. At Getz' cinema 12 in its height of 1969 films were being distributed to 22 different cities. Getz provided a framework for the midnight movie explosion of the 70's.
Wednesday, February 18, 2009
Chelsea Girls Response
Well, aside from this being a kind of movie that i don't typically attend or intend on attending. Simply because i have been raised on a narrative format my entire life. I found the film stunning and interesting even though at some times it was very awkward and I felt like I shouldn't be watching something so close yet so abstract from my own reality. In the first double set of multi-projected films there was a man (presumably on drugs) in a confession with the camera about what he could sense, and what he presumed people could sense of him. His words were poetic although close to absurdity and nonsense. In the reel played directly left of this one there was the reel of him in a social situation, exactly like he is speaking of. They are a in a movie theatre: a show of self-reflexivity that makes you think that any one of the people watching this movie could be in this film. But the light changes, if not the movement of the camera, distances the viewer from the intense actuality of the subjects in the image. The next two simulataneous projections almost plays opposites with the one before it visually, because the predominance of light and frame changes were coming from the left. But the right screen pops up first and the sound is obviously coming from its reel so "the pope" became the dominant figure of my attention. I would like to know what he shot up because I don't want it ever: it abviousley sent him over the edge. Crack kills, and I think thats all I have to say about that. Yes, it shocked me when he hit her but I've seen it before and visa-versa and she could hit just as hard as he did. So that wasn't as bad as just the situation going on... and on... and on... which made it so real. Nearly half of the reel was spent watching him in the dark screaming about this woman that offended him. That whole time I was wishing he would just get over it and stop trying to remain this disgusting character that he was possibly creating simply for the film. It was cool that the girl in the other projection seemed so linked to "the pope". she cried just after he hit up and after the girl gave her "confession" to "the pope" I noticed she had these pattens through the light that looked like the light shining through designs on a confession window.
Friday, February 13, 2009
Response 5
Reading (and Documentary) Response Five
Mary Jordan, Jack Smith and the Destruction of Atlantis
1. Chapter 4: What are some of the reasons suggested for Smith’s obsession with Maria Montez? What are some of your responses to the clips from the Montez films (especially Cobra Woman)?
"Every Saturday he would go to the movies" and supposedly that is when he fell in love with Maria Montez. Agosto Machado says it is a rapture of remembrance of his childhood that made Maria an obsession. Nick Zedd believes it is an inside joke for gay people. Another says that Maria was the apotheosis of the drag queen likely because of her glamorous decor and the fact that she draws so much attention. Well the Maria Montez films seemed corny at best, very similar to whatever I would imagine Rose Hobart was like in film. She does have a look that is particularly beautiful and the film settings are as exotic as I imagined them, but her acting lacked any particular beauty on screen aside from its relevance to the period. But I can understand how such a huge star could become an object of obsession or desire to a child, because to him it was the loss of her idolization in the mainstream that made here something that he must hold on too.
2. Chapter 5: What were some attributes of the New York art community in the 1960s, and what was the relationship between the economics of the time and the materials that Smith incorporated in to his work and films? [How could Smith survive and make art if he was so poor in the city so big they named it twice?]
During the 50's when Jack grew up there was alot of conformity in America and a repression of blatant eroticism. Then in the 60's there was breaking point where all of this dissolved and dissipated into free expression. Artist were open and free to work on any project they wanted to with anyone they wanted to. Also, it was easy for artists to find space to do projects and rent was cheap, often around 30 dollars per month for spacious apartments. The New York art community was very unified at the time Jack Smith's filmmaking. His attempts to create Hollywood effects on a low budget actually assisted in the establishment of a new realm of counterculture. Many of the eclectic materials smith used for his films could be found in the dumpsters outside of the many department stores in NY. Part of what Smith's films unique was the fact that he displayed the things that Hollywood used alot of money to cover up. Using whatever was available Smith could make the films he wanted.
3. Chapter 6: What problems emerged after the obscenity charges against Flaming Creatures in the relationship between Jack Smith and Jonas Mekas? What metaphor emerged from the conflict between Smith and Mekas?
Well, according to Smith, Mekas began travelling with the film defying the police making the film into something that Jack Smith did not want it to be (basically a symbol for the underground struggle against censorship and Mekas). Mekas was making more wealth and fame from Smith's film than Smith did. Smith deeply resented Mekas for taking his film "with the position of defending it and yet essentially kicking it to death." Smith began calling Mekas names and Lobster was one of them. Lobsterism became a symbol for the exploitation, capitalism, being a scavenger, or taking everything for yourself. The lobster symbol apparently pops up alot in Smith's works.
4. Chapter 7: What is John Zorn’s argument about Normal Love? How does his argument relate to some of the changes in the New York art world in the 1960s that we discussed in class? What are some arguments made about the influence of Jack Smith on other filmmakers (besides Warhol)?
John Zorn says that the real show was the filming itself not the film. It ties in most with the idea of artmaking as an activity. John waters and Federico Fellini we influenced by Flaming Creatures and Jack Smith.
5. Chapter 8: What are some arguments made about the relationship between Jack Smith’s artistic practice and Andy Warhol’s artistic practice?
Basically I think the argument of the chapter is that Warhol basically copied Jack Smith and made multitudes of money making films the same way Jack was, only warhol Public Relations Warhol made the practic commercialized. Andy Warhol's Factory was supposedly based on Jack Smith's film settings. Warhol took many of Smith's actors and furthered their progression of underground superstars into the pop scene. Jack and Andy clashed whenever they worked together because Jack wanted complete control.
6. Chapter 9 and 10: In what ways did Jack Smith become “uncommercial film personified”? What is meant by the slogan, “no more masterpieces” and how did Smith resist commodification (or the production of art products)?
Jack found the aspect of commercial film as destroying the artists intentions. So Jacks concept became that his personal works of art would become his alone and that since it was never finished only he could exhibit the films doing everything needed to make the films a viable showing. He found a way to keep and share art with people without it becoming a sort of product available for ownership even to himself. The slogan "no more masterpieces" is meant to explain the concept of a work of art that is not a product at all or maybe it is the final decree against concept of high art. Smith never finished Normal Love so there would never be a finished product.
Daniel Belasco, "The Vanished Prodigy"
7. Name at least three important friends/relationships Barbara Rubin had in the world of art and music in the early 1960s.
Bob Dylan, Andy Warhol, Jonas Mekas, Allen Ginsberg and The Velvet Underground.
8. Briefly describe Rubin's production and exhibition practices for Christmas on Earth. Why does Belasco argue that Christmas on Earth cannot be reproduced electronically or in other forms?
Rubin would show the two reels of Christmas on Earth superimposed in unequal sizes and colorized randomly by the projectionist while the audience listens randomly whatever is on a Rock Radio station. Belasco argues that Christmas on Earth cannot be reproduced electronically or in other forms because it was the originality of each screening that became a part of the work. You could record a live screening of the film but even that wouldn't do justice to the films impact in true exhibition.
Toby Mussman’s review of The Chelsea Girls
9. How does Mussman compare and contrast Warhol’s work in The Chelsea Girls with the work of the following directors?
Luis Bunuel
Alfred Hitchcock
Jean-Luc Godard
Mary Jordan, Jack Smith and the Destruction of Atlantis
1. Chapter 4: What are some of the reasons suggested for Smith’s obsession with Maria Montez? What are some of your responses to the clips from the Montez films (especially Cobra Woman)?
"Every Saturday he would go to the movies" and supposedly that is when he fell in love with Maria Montez. Agosto Machado says it is a rapture of remembrance of his childhood that made Maria an obsession. Nick Zedd believes it is an inside joke for gay people. Another says that Maria was the apotheosis of the drag queen likely because of her glamorous decor and the fact that she draws so much attention. Well the Maria Montez films seemed corny at best, very similar to whatever I would imagine Rose Hobart was like in film. She does have a look that is particularly beautiful and the film settings are as exotic as I imagined them, but her acting lacked any particular beauty on screen aside from its relevance to the period. But I can understand how such a huge star could become an object of obsession or desire to a child, because to him it was the loss of her idolization in the mainstream that made here something that he must hold on too.
2. Chapter 5: What were some attributes of the New York art community in the 1960s, and what was the relationship between the economics of the time and the materials that Smith incorporated in to his work and films? [How could Smith survive and make art if he was so poor in the city so big they named it twice?]
During the 50's when Jack grew up there was alot of conformity in America and a repression of blatant eroticism. Then in the 60's there was breaking point where all of this dissolved and dissipated into free expression. Artist were open and free to work on any project they wanted to with anyone they wanted to. Also, it was easy for artists to find space to do projects and rent was cheap, often around 30 dollars per month for spacious apartments. The New York art community was very unified at the time Jack Smith's filmmaking. His attempts to create Hollywood effects on a low budget actually assisted in the establishment of a new realm of counterculture. Many of the eclectic materials smith used for his films could be found in the dumpsters outside of the many department stores in NY. Part of what Smith's films unique was the fact that he displayed the things that Hollywood used alot of money to cover up. Using whatever was available Smith could make the films he wanted.
3. Chapter 6: What problems emerged after the obscenity charges against Flaming Creatures in the relationship between Jack Smith and Jonas Mekas? What metaphor emerged from the conflict between Smith and Mekas?
Well, according to Smith, Mekas began travelling with the film defying the police making the film into something that Jack Smith did not want it to be (basically a symbol for the underground struggle against censorship and Mekas). Mekas was making more wealth and fame from Smith's film than Smith did. Smith deeply resented Mekas for taking his film "with the position of defending it and yet essentially kicking it to death." Smith began calling Mekas names and Lobster was one of them. Lobsterism became a symbol for the exploitation, capitalism, being a scavenger, or taking everything for yourself. The lobster symbol apparently pops up alot in Smith's works.
4. Chapter 7: What is John Zorn’s argument about Normal Love? How does his argument relate to some of the changes in the New York art world in the 1960s that we discussed in class? What are some arguments made about the influence of Jack Smith on other filmmakers (besides Warhol)?
John Zorn says that the real show was the filming itself not the film. It ties in most with the idea of artmaking as an activity. John waters and Federico Fellini we influenced by Flaming Creatures and Jack Smith.
5. Chapter 8: What are some arguments made about the relationship between Jack Smith’s artistic practice and Andy Warhol’s artistic practice?
Basically I think the argument of the chapter is that Warhol basically copied Jack Smith and made multitudes of money making films the same way Jack was, only warhol Public Relations Warhol made the practic commercialized. Andy Warhol's Factory was supposedly based on Jack Smith's film settings. Warhol took many of Smith's actors and furthered their progression of underground superstars into the pop scene. Jack and Andy clashed whenever they worked together because Jack wanted complete control.
6. Chapter 9 and 10: In what ways did Jack Smith become “uncommercial film personified”? What is meant by the slogan, “no more masterpieces” and how did Smith resist commodification (or the production of art products)?
Jack found the aspect of commercial film as destroying the artists intentions. So Jacks concept became that his personal works of art would become his alone and that since it was never finished only he could exhibit the films doing everything needed to make the films a viable showing. He found a way to keep and share art with people without it becoming a sort of product available for ownership even to himself. The slogan "no more masterpieces" is meant to explain the concept of a work of art that is not a product at all or maybe it is the final decree against concept of high art. Smith never finished Normal Love so there would never be a finished product.
Daniel Belasco, "The Vanished Prodigy"
7. Name at least three important friends/relationships Barbara Rubin had in the world of art and music in the early 1960s.
Bob Dylan, Andy Warhol, Jonas Mekas, Allen Ginsberg and The Velvet Underground.
8. Briefly describe Rubin's production and exhibition practices for Christmas on Earth. Why does Belasco argue that Christmas on Earth cannot be reproduced electronically or in other forms?
Rubin would show the two reels of Christmas on Earth superimposed in unequal sizes and colorized randomly by the projectionist while the audience listens randomly whatever is on a Rock Radio station. Belasco argues that Christmas on Earth cannot be reproduced electronically or in other forms because it was the originality of each screening that became a part of the work. You could record a live screening of the film but even that wouldn't do justice to the films impact in true exhibition.
Toby Mussman’s review of The Chelsea Girls
9. How does Mussman compare and contrast Warhol’s work in The Chelsea Girls with the work of the following directors?
Luis Bunuel
Alfred Hitchcock
Jean-Luc Godard
Sunday, February 8, 2009
Response 4
I found Wrist Trick very interesting in the way that it combines separate short rapid shots of hands and a banana, progressively more peeled, to create the effect of the hands peeling the banana. You can tell that the banana and the hands are not in the same shot but it looks like superimposition, which after multiple pauses I realized it wasn't. What a Trick! It also creates a flicker effect with the varying positive and negative images which assists in the effect by dissorienting the viewer and forcing them to make connections between the shots. I was likewise tricked by Disappearing Music for Face which plainly presents in ECU a gaped tooth smile which loses its expression very, very, very slowly. I stopped paying attention to the mouth thinking that it was not presenting any particularly interesting aspect to the film. I began focusing on the glare coming off of the subject's face seeing that the light changes slightly with each frame, convinced that it was the minimalist theme of the film. Then I realized that the mouth was no longer smiling and I had to go back to review what I had missed. The change was so subtle and that I missed it even while I was staring at the film. It was like a long shot where you might not notice two characters interacting, but more intentional. The fact that the change of face is so important yet so easily impercievable is what stood out the most to me in this short film.
1. What films did Jonas Mekas associate with “Baudelairean Cinema,” and why did he call it that?
Jonas Mekas associates Ron Rice's The Queen of Sheba Meets the Atom Man, Jack Smith's The Flaming Creatures, Ken Jacobs' Little Stabs at Happiness, and Bob Fleischners's Blonde Cobra with Baudelairean Cinema Blond Cobra being its "masterpiece". Mekas calls upon the great writers of decadence, Buadalaire, Marquis de Sade, and Rimbaud, to typify his association of these films as a bridge between Romanticism and Modernism; calling upon both the radiant and the sordid to create a yin-yang effect on screen (which is particularly interesting in black and white, where black most often seems to take over). Mekas says that Blonde Cobra is "one of the greatest works of personal cinema" but he also thinks authorship is ridiculous. I guess it is hard to not consider authorship when your associating great poetry with great films. " 'Life Swarms with innocent monsters.' Charles Baudelaire" is a double quote that is from Blonde Cobra. This film was blatantly asking for someone to make this association.
2. How did Jonas Mekas’s views on experimental cinema change between 1955 and 1961?
Mekas was always a Romanticist and did not recognize and romantic ability in the avant-garde until the early sixties and the mythopoeic films. In 1955 Jonas Mekas believed that American filmmakers were a "degenerative" force on the medium and should focus less on the technique of the medium and more on the thematic elements of human nature. With the tremendous influence of the nouvelle vague and indigenous realism "he gradually began to see more in the films he had previously rejected." In 1960 he even called for a foundation of a "cooperative distribution center" for the avant-garde, and in 1961 he gave Brakhage the "fourth Independent Film Award for The Dead and Prelude: Dog Star Man". Soon he after became a huge distributor and supporter of American independent avant-garde films.
3. How did Mekas’s interest in performance and improvisation shape his views of the New American Cinema in the 1960s?
Mekas had set his roots in the study of Stanislavsky. Therefore he saw the actors imagination as a connection to reality and thus creating realistic imaginary circumstances. The Stanislavsky method is precisely the method to achieve the "breakdown of the difference between performer and role"; because it is intended to make the character and the performer indistinct from each other in performance. To me it seems that Mekas must have believed in improvisation as the key for the performer to obtain the truth of the character, because he must react naturally as he is encountered with new ideas, circumstances, and other stimuli. And thus Mekas was supportive of the films that used such spontaneous improvisation.
4. Even though Jack Smith did not use found footage in Flaming Creatures, what are some similarities between Flaming Creatures and Joseph Cornell’s Rose Hobart?
Flaming Creatures ironically recreates, "liberates", and transforms Hollywood stereotypes of the "pseudo-Arabian world of Maria Montez films." It completely dicards the narrative conventions so highly prized in the typical Hollywood film thereby releasing it's purist, autonomous attributes as does Rose Hobart.
5. What are some of the visual influences on Flaming Creatures, and according to Sitney how are the scenes organized?
Flaming Creatures was influenced by the visual truth and the exotic locations of the Maria Montez films, Smith believeing that the truth of an actor is revealed through its being unconvincing in its depiction of a character. In his perspective upon textures, light and shadow, and, it hermaphroditic eroticism in Flaming Creatures Jack Smith was influenced by the films of von Sternberg.
Callie Angell, “Andy Warhol, Filmmaker”
6. How does Angell characterize the first major period of Warhol’s film making career? What are some of the films from this period?
Angell characterizes Warhol's first major period in filmmaking as minimalist. This period includes Sleep, Kiss, Haircut, Blow Job, Eat, Empire and Henry Geldzahier.
7. What role did the Screen Tests play in the routines at the Factory and in Warhol’s filmmaking?
The Factory became basically a studion for Screen Tests, and Screen Tests became a sort of visual guest book for the Factory. With the period's extreme intertest in Warhol's artistic practices, Screen Tests recorded portraits of "artists, film-makers, writers and critics, gallery owners,actors, dancers, socialites, pop music stars, poets, and, of course, Factory regulars and Superstars." the Screen Tests were an important aspect of Warhol's portrait concept and the expansion of his film practice into a continuous, cumulative mode of serial production. Warhol also used the reels select stars for his films and recycled them into some of his other films.
8. How does Angell characterize the first period of sound films in Warhol’s filmmaking career. What are some of the films from this period?
Well, Andy began exploring scripted action which he often introduced "destabalizing element". These films were one reel continuous 33 minute shot that treated the film as a performance space where the final result was the fully finished product. Vinyl was one of these films.
1. What films did Jonas Mekas associate with “Baudelairean Cinema,” and why did he call it that?
Jonas Mekas associates Ron Rice's The Queen of Sheba Meets the Atom Man, Jack Smith's The Flaming Creatures, Ken Jacobs' Little Stabs at Happiness, and Bob Fleischners's Blonde Cobra with Baudelairean Cinema Blond Cobra being its "masterpiece". Mekas calls upon the great writers of decadence, Buadalaire, Marquis de Sade, and Rimbaud, to typify his association of these films as a bridge between Romanticism and Modernism; calling upon both the radiant and the sordid to create a yin-yang effect on screen (which is particularly interesting in black and white, where black most often seems to take over). Mekas says that Blonde Cobra is "one of the greatest works of personal cinema" but he also thinks authorship is ridiculous. I guess it is hard to not consider authorship when your associating great poetry with great films. " 'Life Swarms with innocent monsters.' Charles Baudelaire" is a double quote that is from Blonde Cobra. This film was blatantly asking for someone to make this association.
2. How did Jonas Mekas’s views on experimental cinema change between 1955 and 1961?
Mekas was always a Romanticist and did not recognize and romantic ability in the avant-garde until the early sixties and the mythopoeic films. In 1955 Jonas Mekas believed that American filmmakers were a "degenerative" force on the medium and should focus less on the technique of the medium and more on the thematic elements of human nature. With the tremendous influence of the nouvelle vague and indigenous realism "he gradually began to see more in the films he had previously rejected." In 1960 he even called for a foundation of a "cooperative distribution center" for the avant-garde, and in 1961 he gave Brakhage the "fourth Independent Film Award for The Dead and Prelude: Dog Star Man". Soon he after became a huge distributor and supporter of American independent avant-garde films.
3. How did Mekas’s interest in performance and improvisation shape his views of the New American Cinema in the 1960s?
Mekas had set his roots in the study of Stanislavsky. Therefore he saw the actors imagination as a connection to reality and thus creating realistic imaginary circumstances. The Stanislavsky method is precisely the method to achieve the "breakdown of the difference between performer and role"; because it is intended to make the character and the performer indistinct from each other in performance. To me it seems that Mekas must have believed in improvisation as the key for the performer to obtain the truth of the character, because he must react naturally as he is encountered with new ideas, circumstances, and other stimuli. And thus Mekas was supportive of the films that used such spontaneous improvisation.
4. Even though Jack Smith did not use found footage in Flaming Creatures, what are some similarities between Flaming Creatures and Joseph Cornell’s Rose Hobart?
Flaming Creatures ironically recreates, "liberates", and transforms Hollywood stereotypes of the "pseudo-Arabian world of Maria Montez films." It completely dicards the narrative conventions so highly prized in the typical Hollywood film thereby releasing it's purist, autonomous attributes as does Rose Hobart.
5. What are some of the visual influences on Flaming Creatures, and according to Sitney how are the scenes organized?
Flaming Creatures was influenced by the visual truth and the exotic locations of the Maria Montez films, Smith believeing that the truth of an actor is revealed through its being unconvincing in its depiction of a character. In his perspective upon textures, light and shadow, and, it hermaphroditic eroticism in Flaming Creatures Jack Smith was influenced by the films of von Sternberg.
Callie Angell, “Andy Warhol, Filmmaker”
6. How does Angell characterize the first major period of Warhol’s film making career? What are some of the films from this period?
Angell characterizes Warhol's first major period in filmmaking as minimalist. This period includes Sleep, Kiss, Haircut, Blow Job, Eat, Empire and Henry Geldzahier.
7. What role did the Screen Tests play in the routines at the Factory and in Warhol’s filmmaking?
The Factory became basically a studion for Screen Tests, and Screen Tests became a sort of visual guest book for the Factory. With the period's extreme intertest in Warhol's artistic practices, Screen Tests recorded portraits of "artists, film-makers, writers and critics, gallery owners,actors, dancers, socialites, pop music stars, poets, and, of course, Factory regulars and Superstars." the Screen Tests were an important aspect of Warhol's portrait concept and the expansion of his film practice into a continuous, cumulative mode of serial production. Warhol also used the reels select stars for his films and recycled them into some of his other films.
8. How does Angell characterize the first period of sound films in Warhol’s filmmaking career. What are some of the films from this period?
Well, Andy began exploring scripted action which he often introduced "destabalizing element". These films were one reel continuous 33 minute shot that treated the film as a performance space where the final result was the fully finished product. Vinyl was one of these films.
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