1. Barney described his work as "sculpture", the category of sculpture has changed from a relatively discrete, bounded, discursive object, into something baggier, which contains a whole range of practices, some with nothing in common. The definition has changed with the artists.
2. Minimalist sculpture was seen as a reaction against the "modernist hymns to the purity and specificity of aesthetic experience" , by the the practices leading to destabilization of sculpture as an object, as both physical and discursive.
3. The role of the body in the work of Acconci and Burden: Acconci, felt he had to find his own voice in the face of his work, he has to find and overcome the flaw in its nature. He used is own body in a minimalist space in his work Seedbed. Acconci masturbated for six hrs a day. Burden performance work of considerable physical intensity, an example is Shoot, where he was shot in the arm.
Walley
1. Two worlds of film art that Walley intends to describe in the article are 'avant-garde cinema and 'artists' film. They are two different modes of film practice in the avant-garde. the artist films are designed for gallery exhibition where avant-garde cinema is experimental film shown in theaters.
2. Modes of film practice is:A mode of film practice is a simultaneously historical, institutional and discursive context constituted by the norms of production, distribution, exhibition and reception of film art. Two examples are Cremaster and Passage. The concept of film practice can help distinguish between the experimental film and gallery art worlds by production, distribution, exhibitions, and aesthetics.
Monday, April 13, 2009
Monday, March 23, 2009
Marc Masters & Michael Zryd Blog
Marc Masters
1. Three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community are: both made their own posters, and played wherever they could, filmmakers screened their films at rock clubs, often between bands; style the musicians were the ones in the films they all like the same kind of music, both wanted to connect with audiences outside the art world; style also “run and gun” it was raw and aggressive as no wave music was; in the community the filmmakers were in was the same community the punk music scene was in; both technology depended on methods that were fast and cheap, the filmmakers of no-wave used super 8 film they could record sound and picture at the same time, so all the filmmaker had to do was “point a camera and push a button.”
2. Punk/no-wave filmmaking was a reaction to the avant-garde film institutionalization of the 1970’s the use of cheap and fast technology, and the community of people who saw and were interested in the films.
3. Filmmakers that influenced Amos Poe, Mitchel and Dick were John Ford and Nicholas Ray; on film they applied their auteur approach to existential plots of Ford and Ray and improvised dialogue.
4. Scott and Beth B took a weekly cable TV program, All Colors News, scenes of “Max Karl” inviting sexual abuse are intercut with news footage, this grew into a short video this venue affected the film’s content and style because some of the footage is shot directly off a TV screen. A rock club setting, The Offenders focused on crime and violence. It was shown in weekly installments at Max’s, by doing weekly installments they made each week a cliff hanger so the audience would want to come back for the next week to see what happens.
Michael Zryd
5. Baldwin means by “Fake right, go left” as a Rhetorical move, rather than using a sincere voice for the voice over, when the film criticizes the U.S. foreign policy, “the film adapts the ironic voice of rabid U.S. patriot, embodying the racist, right-wing, Christian fundamentalist values that for, Baldwin, buttress U.S. foreign policy.” Zryd means by “double voicing” the voice over narration in Tribulation 99’s which clearly marks the ironic intention of the voice over.
6. Paul Arthur’s distinction between the “realist” use of found footage and the “figurative” use of found footage as, the “realist” found footage is used in mainstream documentary, tends to be illustrative or analogical as archival footage as evidence to support the sound track, usually a voice over that articulates the central argument and in effect captions the image. Where figurative or metaphorical use of found footage in experimental film essays. I think the figurative use of found footage is important in Tribulation 99 because it is the use of metaphorical use of the found footage in this experimental film, with out this “figurative” found footage the film would not take on the same meaning.
7. Baldwin means “media jujitsu” as strategy of the symbolic power of the iconic, metonymic image can also be used critically against the official discourse that produces and sanctions it. “With found footage compilation, filmmakers engaged American culture by appropriating its Kino logy and developed strategies and structures for criticizing the culture that provided their material.”
8. Zryd argues the relationship between the use of clips from films such as Chariots of the Gods and Baldwin’s critique of American foreign policy, Baldwin is satirizing this obscure subgenre and its preposterous melding of exploitation and crackpot conspiracy thinking in which UFO fanatics, right-wing militias, and Christian fundamentalists indulge. Baldwin isn’t dismissive of these texts; rather he takes them seriously as distilled manifestations of extreme political positions, and metaphorical narratives that he posits as fundamental to U.S. political culture. Right-wing militarism, motivated by the Christian template of history, isn’t marginal but central-still-t dominant American government and ideology.
1. Three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community are: both made their own posters, and played wherever they could, filmmakers screened their films at rock clubs, often between bands; style the musicians were the ones in the films they all like the same kind of music, both wanted to connect with audiences outside the art world; style also “run and gun” it was raw and aggressive as no wave music was; in the community the filmmakers were in was the same community the punk music scene was in; both technology depended on methods that were fast and cheap, the filmmakers of no-wave used super 8 film they could record sound and picture at the same time, so all the filmmaker had to do was “point a camera and push a button.”
2. Punk/no-wave filmmaking was a reaction to the avant-garde film institutionalization of the 1970’s the use of cheap and fast technology, and the community of people who saw and were interested in the films.
3. Filmmakers that influenced Amos Poe, Mitchel and Dick were John Ford and Nicholas Ray; on film they applied their auteur approach to existential plots of Ford and Ray and improvised dialogue.
4. Scott and Beth B took a weekly cable TV program, All Colors News, scenes of “Max Karl” inviting sexual abuse are intercut with news footage, this grew into a short video this venue affected the film’s content and style because some of the footage is shot directly off a TV screen. A rock club setting, The Offenders focused on crime and violence. It was shown in weekly installments at Max’s, by doing weekly installments they made each week a cliff hanger so the audience would want to come back for the next week to see what happens.
Michael Zryd
5. Baldwin means by “Fake right, go left” as a Rhetorical move, rather than using a sincere voice for the voice over, when the film criticizes the U.S. foreign policy, “the film adapts the ironic voice of rabid U.S. patriot, embodying the racist, right-wing, Christian fundamentalist values that for, Baldwin, buttress U.S. foreign policy.” Zryd means by “double voicing” the voice over narration in Tribulation 99’s which clearly marks the ironic intention of the voice over.
6. Paul Arthur’s distinction between the “realist” use of found footage and the “figurative” use of found footage as, the “realist” found footage is used in mainstream documentary, tends to be illustrative or analogical as archival footage as evidence to support the sound track, usually a voice over that articulates the central argument and in effect captions the image. Where figurative or metaphorical use of found footage in experimental film essays. I think the figurative use of found footage is important in Tribulation 99 because it is the use of metaphorical use of the found footage in this experimental film, with out this “figurative” found footage the film would not take on the same meaning.
7. Baldwin means “media jujitsu” as strategy of the symbolic power of the iconic, metonymic image can also be used critically against the official discourse that produces and sanctions it. “With found footage compilation, filmmakers engaged American culture by appropriating its Kino logy and developed strategies and structures for criticizing the culture that provided their material.”
8. Zryd argues the relationship between the use of clips from films such as Chariots of the Gods and Baldwin’s critique of American foreign policy, Baldwin is satirizing this obscure subgenre and its preposterous melding of exploitation and crackpot conspiracy thinking in which UFO fanatics, right-wing militias, and Christian fundamentalists indulge. Baldwin isn’t dismissive of these texts; rather he takes them seriously as distilled manifestations of extreme political positions, and metaphorical narratives that he posits as fundamental to U.S. political culture. Right-wing militarism, motivated by the Christian template of history, isn’t marginal but central-still-t dominant American government and ideology.
Tuesday, March 3, 2009
Response 7
4.
A. Sitney calls Warhol anti-Romantic, because Warhol defined his art as anti-romantic. Sitney’s concerns that he associated with the Romantic heritage of the American avant-garde film were the object of Warhol’s fierce indifference.
B. Sitney argues that spiritually the distance between Warhol and structural filmmakers such as Michael Snow or Ernie Gehr can’t be reconciled, because Michael snow utilized the tension of fixed frame and some flexibility of the fixed tripod in Wavelength, help make Snow the dean of structural films. Where as Warhol, came to avant garde cinema like no one else, he was fully developed artist as a painter, and then went to make film, by making his footage the central fact of his films he advertised the indifference of direction, photography, and lighting. Since Sitney argues Warhol is anti-romantic, he wouldn’t be a structural filmmaker since structural film is linked with romanticism.
C. The phrase “conscious ontology of the viewing experience” is the ontological difference between graphic, two-dimension modality and photographic naturalism, which is used as a metaphor for the relation of film itself. Relates to Warhol films from the side of photographic naturalism, which is found in many of Warhol films. On the structural films it realties to two-dimension modality.
D. Sitney argues that structural film is related to the psychodrama, mythopoeia, lyrical tradition because of the film forms used, Warhol stepped out of the different traditions of filming, and made his own tactics like just leaving the camera and walking away from it, and filming what ever happened to be in front of it.
A. Sitney calls Warhol anti-Romantic, because Warhol defined his art as anti-romantic. Sitney’s concerns that he associated with the Romantic heritage of the American avant-garde film were the object of Warhol’s fierce indifference.
B. Sitney argues that spiritually the distance between Warhol and structural filmmakers such as Michael Snow or Ernie Gehr can’t be reconciled, because Michael snow utilized the tension of fixed frame and some flexibility of the fixed tripod in Wavelength, help make Snow the dean of structural films. Where as Warhol, came to avant garde cinema like no one else, he was fully developed artist as a painter, and then went to make film, by making his footage the central fact of his films he advertised the indifference of direction, photography, and lighting. Since Sitney argues Warhol is anti-romantic, he wouldn’t be a structural filmmaker since structural film is linked with romanticism.
C. The phrase “conscious ontology of the viewing experience” is the ontological difference between graphic, two-dimension modality and photographic naturalism, which is used as a metaphor for the relation of film itself. Relates to Warhol films from the side of photographic naturalism, which is found in many of Warhol films. On the structural films it realties to two-dimension modality.
D. Sitney argues that structural film is related to the psychodrama, mythopoeia, lyrical tradition because of the film forms used, Warhol stepped out of the different traditions of filming, and made his own tactics like just leaving the camera and walking away from it, and filming what ever happened to be in front of it.
Wednesday, February 25, 2009
1. This work relates to our discussion in intermedia and expanded cinema in the 60's with the process of performance. There are all different kinds of acting, even if we think it is not acting at all, "it just is" relates to our discussion with previous performance.
2. A close up of a hand cutting of the orange, and unexpected black tiny marbles come out of it. A man is who is one the left and right of the screen is looking at an apple on the screen, when he walks into look closer the man walks through the apple. The illusion of the apple looking that it popped off the screen. The performance of the man slowly walking toward the screen (with the fruit) really got the viewers attention.
3. I think Eddie steals the scene in Vinyl, because first, she is the only woman in the scene, second the viewer tends to notice all the images on the screen, there is a lot going on, and the viewer is looking at her to see if she will interact with the boys. Lastly, her dance moves while she was sitting down pulled her even more apart from her fellow performers.
4. Underground began to crossover into mainstream cinema by the attention it was getting in magazine articles, and with the release of Chelsea Girls.
5. Getz was an important figure in the crossover because he is the one who implemented a new distribution channel, and traveling over twenty cities with his traveling show, and really got the word out about underground cinema.
2. A close up of a hand cutting of the orange, and unexpected black tiny marbles come out of it. A man is who is one the left and right of the screen is looking at an apple on the screen, when he walks into look closer the man walks through the apple. The illusion of the apple looking that it popped off the screen. The performance of the man slowly walking toward the screen (with the fruit) really got the viewers attention.
3. I think Eddie steals the scene in Vinyl, because first, she is the only woman in the scene, second the viewer tends to notice all the images on the screen, there is a lot going on, and the viewer is looking at her to see if she will interact with the boys. Lastly, her dance moves while she was sitting down pulled her even more apart from her fellow performers.
4. Underground began to crossover into mainstream cinema by the attention it was getting in magazine articles, and with the release of Chelsea Girls.
5. Getz was an important figure in the crossover because he is the one who implemented a new distribution channel, and traveling over twenty cities with his traveling show, and really got the word out about underground cinema.
Thursday, February 19, 2009
Thougts about The Chelsea Girls
I thought the Warhol's Cheslea Girls to interesting. The split screen at first was neat the way he did it, with a woman on the left and someone speaking on the right. Then I found myself ignoring the left side of the screen and focusing more on the right. I did that until I did not enjoy what I was watching on the right side, then I would look to the left side. The "pope" sequence was entertaining to me until he started to freak out on the woman. Once he threw the water on her, I starting thinking is this staged or not. Then when he hit her, and her reaction to him looked pretty real to me. Thats when first I thought, if a man ever hit me, I would be the kind of person to hit him back, and then I look to the left of the screen to see what the woman alone was doing. The "pope" was an odd character, and was neat to watch because I kept thinking is this guy for real? I don't know if I would have liked the film for its full duration of time, I thought an hour, fifty minutes was enough to see what the film was about.
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.
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.
Sunday, February 8, 2009
Response to Flux Films:
04 Chieko Shiomi-Disappearing Music for Face: This film is black and white, the title that came up in the beginning of the film was in the center of the frame and slowly decreased in size until it faded away completely. Flashes of credits were shown, then a close up of a woman’s mouth that showed her teeth and was gapped tooth, it was a static shot and it was framed to left side of the frame not in the middle. It was up on screen for what felt like a very long time, then the image switched to a static shot of her mouth more slightly closed, not showing her teeth but her lips were still separated, the final shot showed the woman’s mouth closed. I kept waiting for other images to appear but there weren’t any. I find it interesting that the lips were framed slightly to the left of the center of the frame. However, I don’t really understand if the image of the lips were supposed to have a deeper meaning.
07 George Maciunas- 10 Feet: This film was black and white and showed very fast flashes of numbers. The numbers started from regular numbers, to minutes, then the credits were flashed followed by more numbers, to numbers in feet; the flashes of the numbers were in different sized font. I am unaware why the numbers started flashing and then the credits were shown, and then back to the numbers.
14 Yoko Ono- One: Flashes of the title in black and white there was a close up of a males hand holding a match, then the hand lite the match, I thought it was neat that you could see the smoke from the match as it was burning. I think it was a male’s hand by the size of it, and the fingernails were dirty. I am not sure why the fingernails were not clean, it made me think of what kind of work he did in his life, which is probably not what you are supposed to think about while watching this film. The shot of the match is on screen until it burns out.
28 Paul Sharits-Wrist Trick: Images were juxtaposed together in this film. It was black and white; it however looked like an x-ray. Flashes of an open hand, a close hand, animals, I think a goat and rabbit were shown. I did notice repetition of these images which I felt was interesting, and it made me wonder if the images some how could be related to one another.
Answers to Questions
1. The films Jonas Meka’s associated with “Baudelairean Cinema” were Twice a Man, Scorpio Rising, Heaven and Earth Magic, and Dog Star Man. Meka called it Baudelairean cinema because Charles Pierre Baudelaire who was a French poet, critic and translator in the 19th century was known for being a controversial figure. Meka felt the films he would range in the Baudelairean Cinema were controversial or it could have been that the filmmaker themselves were controversial.
2. Jonas Meka’s views on experimental cinema change between 1955 and 1961 dramatically. When Meka originally began his magazine, Film Culture in the third issue there was a sneaky attack on American film poem, disguised by a survey. In the attack Meka's wrote “experiments should be directed not so much towards new techniques but toward a deeper theme” he also stated, “for more attention to these film-makers as a way encouraging their improvement.” In 1957 Meka's let the film-makers of the ‘Experimental Scene’ contribute to articles in the magazine, from that point on there were no more attacks. In 1959, the magazine even gave more credit to avant-garde filmmakers. Meka's began to see films he previously rejected in 1959 through 1961 his thought process shifted with the impression nouvelle vague in France. Meka’s was named film critic for Village Voice, and was one of the most powerful critics in America. When he took time off to shoot one of his films, Meka left Maya Deren as his substitute critic, this step for Meka’s was a huge change from his first impression of experimental cinema.
3. Meka’s interest in performance and improvisation shaped his views of the New American Cinema in the 1960’s, Meka’s stated, “Improvisation is the highest form of condensation; it points to the very essence of thought, an emotion, a movement.” Meka enjoyed the break down of the difference between the performer and his role. Performance helped Meka’s position in his criticism; an example of this is when he announced the death of “the symbolist-surrealist cinema of intellectual meanings.” After that statement Meka made the symbolist-surrealist cinema was shown publicly for the first time in that same year the statement was made.
4. Even thought Jack Smith did not use found footage in Flaming Creatures, the film was a transformation on an ironical recreation of the pseudo-Arabian world of Maria Montez films. The similarity of Joseph Cornell’s Rose Hobart, and Jack Smith’s Flaming Creatures is they both took images; one by found footage, the other by recreating footage and used it to make their own films.
5. Some visual influences on Flaming Creatures are visual texture, androgynous sexual presence, and exotic locations. According to Sitney the scenes are organized by rhythm and dramatic effect rather than narrative. The style of photography is different in each scene; Smith pairs the photography like they were ‘movements of a musical work.’
6. Angell characterized the first major period of Warhol’s filmmaking career as a ‘primitive’ approach, the films were a group of minimalist films, which were long and static some of the films included from this period were Sleep, Kiss, Haircut, Blow Job, Eat, Empire, and Henry Geidzahier.
7. The screen tests played an enormous role in Warhol’s filmmaking; they were a central development of Warhol’s Cinema in the attraction and the selection of people to star in his movies, and also the expansion of his film practice into continuous, cumulative mode of serial production. The role the Screen tests played in the routines at the Factory was: the Factory became a functioning film studio because of the tests, with camera, lights, etc. Also, celebrities, potential actors, technicians, and assistants would come to the Factory for these Screen Tests, making more elaborate productions a reality for the Factory.
8. Angell characterizes the first period of sound films in Warhol’s filmmaking career as ‘early narratives.’ Some of the films in this period are: Harlot, Vinyl, and the film series, The Poor Little Rich Girl Saga.
04 Chieko Shiomi-Disappearing Music for Face: This film is black and white, the title that came up in the beginning of the film was in the center of the frame and slowly decreased in size until it faded away completely. Flashes of credits were shown, then a close up of a woman’s mouth that showed her teeth and was gapped tooth, it was a static shot and it was framed to left side of the frame not in the middle. It was up on screen for what felt like a very long time, then the image switched to a static shot of her mouth more slightly closed, not showing her teeth but her lips were still separated, the final shot showed the woman’s mouth closed. I kept waiting for other images to appear but there weren’t any. I find it interesting that the lips were framed slightly to the left of the center of the frame. However, I don’t really understand if the image of the lips were supposed to have a deeper meaning.
07 George Maciunas- 10 Feet: This film was black and white and showed very fast flashes of numbers. The numbers started from regular numbers, to minutes, then the credits were flashed followed by more numbers, to numbers in feet; the flashes of the numbers were in different sized font. I am unaware why the numbers started flashing and then the credits were shown, and then back to the numbers.
14 Yoko Ono- One: Flashes of the title in black and white there was a close up of a males hand holding a match, then the hand lite the match, I thought it was neat that you could see the smoke from the match as it was burning. I think it was a male’s hand by the size of it, and the fingernails were dirty. I am not sure why the fingernails were not clean, it made me think of what kind of work he did in his life, which is probably not what you are supposed to think about while watching this film. The shot of the match is on screen until it burns out.
28 Paul Sharits-Wrist Trick: Images were juxtaposed together in this film. It was black and white; it however looked like an x-ray. Flashes of an open hand, a close hand, animals, I think a goat and rabbit were shown. I did notice repetition of these images which I felt was interesting, and it made me wonder if the images some how could be related to one another.
Answers to Questions
1. The films Jonas Meka’s associated with “Baudelairean Cinema” were Twice a Man, Scorpio Rising, Heaven and Earth Magic, and Dog Star Man. Meka called it Baudelairean cinema because Charles Pierre Baudelaire who was a French poet, critic and translator in the 19th century was known for being a controversial figure. Meka felt the films he would range in the Baudelairean Cinema were controversial or it could have been that the filmmaker themselves were controversial.
2. Jonas Meka’s views on experimental cinema change between 1955 and 1961 dramatically. When Meka originally began his magazine, Film Culture in the third issue there was a sneaky attack on American film poem, disguised by a survey. In the attack Meka's wrote “experiments should be directed not so much towards new techniques but toward a deeper theme” he also stated, “for more attention to these film-makers as a way encouraging their improvement.” In 1957 Meka's let the film-makers of the ‘Experimental Scene’ contribute to articles in the magazine, from that point on there were no more attacks. In 1959, the magazine even gave more credit to avant-garde filmmakers. Meka's began to see films he previously rejected in 1959 through 1961 his thought process shifted with the impression nouvelle vague in France. Meka’s was named film critic for Village Voice, and was one of the most powerful critics in America. When he took time off to shoot one of his films, Meka left Maya Deren as his substitute critic, this step for Meka’s was a huge change from his first impression of experimental cinema.
3. Meka’s interest in performance and improvisation shaped his views of the New American Cinema in the 1960’s, Meka’s stated, “Improvisation is the highest form of condensation; it points to the very essence of thought, an emotion, a movement.” Meka enjoyed the break down of the difference between the performer and his role. Performance helped Meka’s position in his criticism; an example of this is when he announced the death of “the symbolist-surrealist cinema of intellectual meanings.” After that statement Meka made the symbolist-surrealist cinema was shown publicly for the first time in that same year the statement was made.
4. Even thought Jack Smith did not use found footage in Flaming Creatures, the film was a transformation on an ironical recreation of the pseudo-Arabian world of Maria Montez films. The similarity of Joseph Cornell’s Rose Hobart, and Jack Smith’s Flaming Creatures is they both took images; one by found footage, the other by recreating footage and used it to make their own films.
5. Some visual influences on Flaming Creatures are visual texture, androgynous sexual presence, and exotic locations. According to Sitney the scenes are organized by rhythm and dramatic effect rather than narrative. The style of photography is different in each scene; Smith pairs the photography like they were ‘movements of a musical work.’
6. Angell characterized the first major period of Warhol’s filmmaking career as a ‘primitive’ approach, the films were a group of minimalist films, which were long and static some of the films included from this period were Sleep, Kiss, Haircut, Blow Job, Eat, Empire, and Henry Geidzahier.
7. The screen tests played an enormous role in Warhol’s filmmaking; they were a central development of Warhol’s Cinema in the attraction and the selection of people to star in his movies, and also the expansion of his film practice into continuous, cumulative mode of serial production. The role the Screen tests played in the routines at the Factory was: the Factory became a functioning film studio because of the tests, with camera, lights, etc. Also, celebrities, potential actors, technicians, and assistants would come to the Factory for these Screen Tests, making more elaborate productions a reality for the Factory.
8. Angell characterizes the first period of sound films in Warhol’s filmmaking career as ‘early narratives.’ Some of the films in this period are: Harlot, Vinyl, and the film series, The Poor Little Rich Girl Saga.
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