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video: 9 Text passages
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1.  Gregor Stemmrich «Art and Cinematography»myths, satirize them, or subject them to other, sub-cultural experiences as for example in the films of Kenneth Anger and of Andy Warhol or in a different way the films of John Baldessari and of Robert Smithson (for this see contributions by Diedrich [more]  |
| 2. Diedrich Diederichsen «Artists, Auteurs, and Star. On the Human Factor in the Culture Industry» instance in his best-known film, « Flaming Creatures» (1963), in which the actor, Mario Montez, best known from Warhol's films, appearing here under the name Dolores Flores represents another figure who embodied Smith’s notion of [more] |
| 3. Tom Holert «Deserts of the Political - Michelangelo Antonioni, Robert Smithson and Michael Snow» zero, which is perfected in the center of the postwar modern era in the works of Roland Barthes, Samuel Beckett, John Cage, Andy Warhol, J.G. Ballard, and many others. Smithson is hardly tortured by fears of loss. In two texts from the period around 1967 68, he [more] |
| 4. Ivone Margulies «Toward a Corporeal Cinema: Theatricality in the \'70s» and the symbolic registers exemplified in the work of Benning and Akerman, as well as in Warhol and Michael Snow's cinema. Andy Warhol's minimal-hyperrealist cinema can be proposed as a layered, material realism. Even when Warhol records a natural referent (for [more] |
| 5. Ivone Margulies «Toward a Corporeal Cinema: Theatricality in the \'70s» (Bresson, Rohmer, Dreyer's «Gertrud,» etc.), in the U.S. to experiments with proto- and infra-narrative forms (Andy Warhol, Michael Snow, James Benning), these bodies of work reflect unique approaches to narrative and performance. In Akerman, they [more] |
| 6. Ivone Margulies «Toward a Corporeal Cinema: Theatricality in the \'70s» notion of a wandering spectatorial focus, is the long take, which may or may not exhibit the many planes of a deep-focus shot. Warhol's cinema shows that both a simultaneity of events on screen and the extended duration of a single image or event can forestall [more] |
| 7. Ivone Margulies «Toward a Corporeal Cinema: Theatricality in the \'70s» a taint in classical cinema's precious equilibrium. Akerman's formal allegiance to Bresson, Dreyer, Yasujiro Ozu, and Warhol demands an understanding of how her nondidactic antinaturalism shares in a shift in sensibility that is distinctly [more] |
| 8. John Miller «No More Boring Art» magic insofar as the belief system rests on contact between photons emitted by the subject and the photographic plate. Andy Warhol’s films «Empire,» «Sleep,» «Eat» and «Blowjob» all seemingly guarantee [more] |
| 9. John Miller «No More Boring Art» how film and television cultivate a deeper from of apperception in mass culture. 5. Between Glamour and Boredom Boredom in Warhol's work derives primarily from apperception, namely the generalized experience of shock in mass culture. Not surprisingly, Warhol [more] |
