Tuesday, February 17, 2009

Response 5

2. Smith incorporated in his films found materials to keep the budget down, and had homosexuals, transvestites his friends were in his films. In NY at the time you could rent a seven-bedroom apartment for fewer than twenty dollars. The cheap budget, gave the underground film its own feel and presence, they went through dumpsters to find manicans and anything else a filmmaker would need to make a film. The artistic community was a cohesive group, not that many people in it, and now that it was okay to be friends with homosexuals, Smith used that in his film, and pushed that ‘okay’ relationship in his films.
3. Problems that emerged after obscenity charges against Flaming Creatures in the relationship between Smith and Mekas were they were both arrested. Jack thought Jonas advanced his own career by traveling with the film, and making as much money as he could and giving none back to him. Jonas Mekas was called “Uncle Fish Hook”, the metaphor taking anything you wanted-exploiting, and giving nothing back in return.
4. Johns Zorn argument on about Normal Love was the real show was filming not the film it was the actual filming of it. His argument relates to the NY art world in the 60’s by filmmakers wanted the viewers to pay attention to the process of the film being made as well as the actual finished product of the film. Jack Smith influenced other filmmakers such as Fellini.
5. Some arguments that were made about the relationship between Jack Smith’s artistic practice and Andy Warhol’s were: Warhols Factory was based on Jack’s work, Jack introduced the super star aspect, an example would be Montez.
7. Important friends/relationships for Barbara Rubin in the 1960’s were: Allen Ginsberg, Bob Dylan, Jonas Mekas, and Andy Warhol.
8. Rubin’s production and exhibition practices for Christmas on Earth, the key formal innovation of Christmas on Earth is its superimposed projection in unequal sizes, a format that she originated. Rubin projected on reel normally and the projected the second reel over it, about one third smaller, using a longer focal length lens. Belasco argues Christmas on Earth can’t be reproduced electronically or in other forms because it can’t be copied mechanically, run thought an editing deck or captured of a still due to its place as a work of filmic alchemy. The only way to record it is at a live screening, making it a production of a single event, not a copy of the work itself.

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