1. What were some of the venues associated with the early underground film movement in New York City? What were some of the unique characteristics of the Charles Theater and its programming?
Cinema 16, Fashion Industries Auditorium, Living Theater, the Charles Theater, Thalia, New Yorker, the Bleeker Street Cinema
The Charles Theater had very diverse programing, everything from Astaire-Rogers musicals to Italian neorealist dramas, cheap B movies (Ulmer), the Marx Brothers, to Orson Welles's Touch of Evil screened there. The theater would also show case local art on the walls of its lobby, held jazz shows weekly, showed Ukrainian films, held special events like a late nigh screening of Kubrick's Fear and Desire followed by a discussion, and devoted day time shows to silent movies. Basically the theater worked to tailor to a very wide variety of people from all sectors of the arts community. Mekas later held midnight screenings on the weekends, creating a buzz/ atmosphere of "cultish exoticism." He also inniciated the experimental film screenings that allowed for many new directors to debut their work; these screenings became very popular. Jack's Smith's controversial "Flaming Creatures" screened there and the theater also hosted the Filmmakers Festival.
2. Which filmmakers did Jonas Mekas associate with the “Baudelairean Cinema”? Why did Mekas use that term, and what were the distinguishing characteristics of the films?
Smith, Rice, Jacobs were associated with the "Baudelairean Cinema" The term come from the name of the writer Baudelaire. The films confronted the audience with an array of concepts and visual images that included tabooed subjects, violence, sexuality, etc.
3. Why did underground films run into legal trouble in New York City in 1964? What film encountered legal problems in Los Angeles almost on the same day as Mekas’s second arrest in New York City?
New York City was preparing for the 1964 World's Fair by cleaning up the city's "image" and shut down many of the theaters that screened underground films.
4. What were some of the defining characteristics of Andy Warhol’s collaboration with Ronald Tavel? What were some of the unique characteristics of Vinyl? How does Edie Sedgewick end up "stealing" the scene in Vinyl?
Tavel helped document how Warhol's factory was ran, he also rewrote "A Clockwork Orange" to suite Warhol's film making style, by stripping down to its basic structure. Vinyl was shot in real time, with one stationary camera, and showed the bare minimum of the story. Sedgewick plainly sat on a truck and flicked her cigarette, but her eyes were so intense that they stole the focus of the scene.
5. In what ways did the underground film begin to "crossover" into the mainstream in 1965-1966? What films and venues were associated with the crossover? How were the films received by the mainstream New York press?
Underground film first gained attention in the mainstream in the magazine circuit. After Warhol's series, "The Chelsea Girls" was released, it gained wide spread popularity, partly due to an impressive review in "Newsweek," and also because the people who saw it were so ecstatic about it that they encouraged others to see it as well. It was the first underground film to screen at a major theater where it played for seven weeks. Then the film spread throughout other major theaters, including the York, St. Marks, the Cinema Theater (LA), and eventually all across the country. The mainstream press in New York received this film in a very negative light.
6. Why was John Getz an important figure in the crossover of the underground?
He decided to create compilations of underground films and send them out to midnight screenings on a circuit of movie theaters owned by his uncle. These compilations ended up being called, " The Underground Cinema 12, " and played in 22 different cities across the country. This gave underground film more exposure then ever before.
7. How do Hoberman and Rosenbaum characterize Warhol’s post-1967 films?
He never again created anything that caused much of a buzz, but he did remain as a great influence over the sexual content in experimental films of the following era.
Sunday, February 21, 2010
Friday, February 12, 2010
1. Briefly respond to one of the following Fluxfilms.
Joe Johnes- Smocking - This film played with my perceptions and expectations. The first part with the white numbers against the black background was strange because the numbers were not directly centered on the screen, and they were going up instead of down, as they do at the start of most films. The "ft" after the ten was also unexpected. The sequence of the white numbers against the gray must have been entertaining to make, it allowed me to think of the process behind it, since there wasn't much else to think about.
2. Look up “Fluxus” and any of the Fluxus artists in the index of Visionary Film. Why are they not there? Are the Fluxfilms compatible with Sitney’s central argument about the American avant-garde?
Sitney defined avant-garde as films created by people trying to recreate the experiences of the mind, imagination, and perception. Fluxus films, on the other hand, focused more on the process of creating the film itself. Their works, although original, were not difficult to make and did not attempt to visually represent what goes on in out heads.
3. 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)?
fond childhood memories of watching her films, her diva image, she often played suppressed characters
4. 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?]
everybody knew each other, a strong sense of community, unconventional artists, he would grab supplies out of dumpsters such as costumes, mannequins, etc.
5. 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?
Mekas used the controversy that surrounded this film as a way to further his own image in the artistic community and make money, as a result he screened it too much, upsetting Smith; Lobsterism?
6. 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 (including Warhol)?
He argues that the real art of Normal Love was the process of Smith creating the film. This is similar to the Fluxus film makers of the 1960s and their focus on the importance of the act of making films. He created a sense of competition, jack originated the style of film that warhol later worked with, Fellini used a lot of Jack's imagery, Warholes Factory is said to be based on Jack's work, Warhole used some of Jack's actors
7. 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)?
He would never have a finished work, he would edit at screenings and play his own records. He decided never again to make a complete "masterpiece" because then his work could never be exploited and no one could take it and "suck the travel" out of it. He resisted commodification by never creating copies of his films for distribution, created a group experience through his work, resisted ownership of property, played his films for free for two years.
8. How does Angell characterize the first major period of Warhol’s filmmaking career? What are some of the films from this period, and what formal qualities did they share? What are some significant differences between Sleep and Empire?
They were extremely long and had very little to no action at all. Films from this period were Sleep, Kiss, Haircut, Blow Job, Eat, Empire, and Henry Geldzahler. Sleep and Empire were both extremely long in comparison to most films, and they both focused on a single subject. Sleep was different from Empire because it recorded a person in a completely natural state without any inhibitions of consciousness, the film also had many edits and variations on shot sizes, as well as movement of the subject, while Empire focused on a man made object, was one continuous shot, and the subject remained stationary.
9. What role did the Screen Tests play in the routines at the Factory and in Warhol’s filmmaking?
Screen Tests were shot on the spot at the Factory. They included many visitors, actors, some of whom he would later hire, and other professionals who would drop in to audition, or just to say hello. They serve as documentation of the Factory from 1964-66 since they included most of the people involved in Warlhol's productions. Since the subjects of the screen tests were asked to move as little as possible, these tests had a resemblance to still photos. The tests also taught Warhol about the "posing, framing and lighting of his subjects," and helped him develop a "serial mode of production." The tests were at times included in his larger projects, or played side by side by themselves or along with other performances, such as music.
10. How does Angell characterize the first period of sound films in Warhol’s filmmaking career? Who was Warhol’s key collaborator for the early sound films? What are some of the films from this period and what formal properties did they share?
Just like in his silent films, Warhol still did not move the camera or make edits after he started working with sound. He used the space in front of the camera as a stage on which a performance would occur, chance happenings and screw ups of the actors would be included in such films. Warhol's key collaborator during this time was Ronald Tavel. Some films from this period are Vinyl, The Poor Little Rich Girl Saga, Lupe, and Hedy.
Joe Johnes- Smocking - This film played with my perceptions and expectations. The first part with the white numbers against the black background was strange because the numbers were not directly centered on the screen, and they were going up instead of down, as they do at the start of most films. The "ft" after the ten was also unexpected. The sequence of the white numbers against the gray must have been entertaining to make, it allowed me to think of the process behind it, since there wasn't much else to think about.
2. Look up “Fluxus” and any of the Fluxus artists in the index of Visionary Film. Why are they not there? Are the Fluxfilms compatible with Sitney’s central argument about the American avant-garde?
Sitney defined avant-garde as films created by people trying to recreate the experiences of the mind, imagination, and perception. Fluxus films, on the other hand, focused more on the process of creating the film itself. Their works, although original, were not difficult to make and did not attempt to visually represent what goes on in out heads.
3. 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)?
fond childhood memories of watching her films, her diva image, she often played suppressed characters
4. 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?]
everybody knew each other, a strong sense of community, unconventional artists, he would grab supplies out of dumpsters such as costumes, mannequins, etc.
5. 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?
Mekas used the controversy that surrounded this film as a way to further his own image in the artistic community and make money, as a result he screened it too much, upsetting Smith; Lobsterism?
6. 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 (including Warhol)?
He argues that the real art of Normal Love was the process of Smith creating the film. This is similar to the Fluxus film makers of the 1960s and their focus on the importance of the act of making films. He created a sense of competition, jack originated the style of film that warhol later worked with, Fellini used a lot of Jack's imagery, Warholes Factory is said to be based on Jack's work, Warhole used some of Jack's actors
7. 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)?
He would never have a finished work, he would edit at screenings and play his own records. He decided never again to make a complete "masterpiece" because then his work could never be exploited and no one could take it and "suck the travel" out of it. He resisted commodification by never creating copies of his films for distribution, created a group experience through his work, resisted ownership of property, played his films for free for two years.
8. How does Angell characterize the first major period of Warhol’s filmmaking career? What are some of the films from this period, and what formal qualities did they share? What are some significant differences between Sleep and Empire?
They were extremely long and had very little to no action at all. Films from this period were Sleep, Kiss, Haircut, Blow Job, Eat, Empire, and Henry Geldzahler. Sleep and Empire were both extremely long in comparison to most films, and they both focused on a single subject. Sleep was different from Empire because it recorded a person in a completely natural state without any inhibitions of consciousness, the film also had many edits and variations on shot sizes, as well as movement of the subject, while Empire focused on a man made object, was one continuous shot, and the subject remained stationary.
9. What role did the Screen Tests play in the routines at the Factory and in Warhol’s filmmaking?
Screen Tests were shot on the spot at the Factory. They included many visitors, actors, some of whom he would later hire, and other professionals who would drop in to audition, or just to say hello. They serve as documentation of the Factory from 1964-66 since they included most of the people involved in Warlhol's productions. Since the subjects of the screen tests were asked to move as little as possible, these tests had a resemblance to still photos. The tests also taught Warhol about the "posing, framing and lighting of his subjects," and helped him develop a "serial mode of production." The tests were at times included in his larger projects, or played side by side by themselves or along with other performances, such as music.
10. How does Angell characterize the first period of sound films in Warhol’s filmmaking career? Who was Warhol’s key collaborator for the early sound films? What are some of the films from this period and what formal properties did they share?
Just like in his silent films, Warhol still did not move the camera or make edits after he started working with sound. He used the space in front of the camera as a stage on which a performance would occur, chance happenings and screw ups of the actors would be included in such films. Warhol's key collaborator during this time was Ronald Tavel. Some films from this period are Vinyl, The Poor Little Rich Girl Saga, Lupe, and Hedy.
Saturday, February 6, 2010
Week 3
1. The PRologue was a little lengthy in my opinion, but non the less it was gorgeous to look at. Watching it I felt as if Brakhage was trying to visually represent his fascination with the human body and how it fits in together with nature as a whole. There were many close up shots of different parts of the body juxtaposed with shots of nature, in these something was always there to tie the two shots together. Sometimes the shapes were similar, and other times it felt as if the first shot was a puzzle piece included in the second one and vice versa. Although there didn't' seem to be any sort of narrative to this prologue, it did seem to hint at the rest of Dogstar man, if only slightly. Some images reminded me of what I had read about the piece. The use of colors was awesome.
2. To represent the suicide of john, Maclaine shows the viewer close up of people, like the head of the bum, the hands of the piano player, and Joh's legs. These are smaller parts of a whole concept. This film anticipates Brakhages work through its use of both black and white as well as color film stock, the foreshadowing use of metaphors, the themes of doom and redemption, as well as the attempt to use direct address and indirect narration.
3. Both filmmakers partly relied on looping and metaphors to get their visions across. MacLaine developed the sense of hopelessness over the course of his film, while Conner played the emotions of his viewers, switching his film's tone from humorous, to erotic, to violent. Conners films also brought attention to the medium of film itself, while MacLaine's did not.
4. I'm not too familiar with the concepts behind the beatnik movement, but from what I understood while reading this chapter the two films are resemblance of Beat sensibility because the heroes are often mediators who exist in the real world and the allegoric one. The films were created very minimally, the editing was sparce, the music seemed random, and the lighting was uneven. The films didn't submit to any particular standards. As far as picaresque form, the stories resembled and followed a semi narrative structure of an adventure story. There is a hero in both who discovers and explores his environment.
5. Through the use of direct film manipulation, juxtaposition of images, and sometimes no images at all in a response to the avant garde cinema, these artists rebelled against the previous model.
6. That people collaborated on each others films. Even though having many artist work on one movie created less of a personal effect, this method allowed for the films to be better and communicate more to their viewers.
7. Zen For Film fixed the material and aesthetic terms of production by managing to avoid the standard forms of production and editing, as well as the focus on images themselves. His work brought the medium of film to attention on an extreme level. When the audience is presented with nothing on the screen except a few dust particles and scratches, they have no choice but to think about the film medium, there's nothing else to do.
2. To represent the suicide of john, Maclaine shows the viewer close up of people, like the head of the bum, the hands of the piano player, and Joh's legs. These are smaller parts of a whole concept. This film anticipates Brakhages work through its use of both black and white as well as color film stock, the foreshadowing use of metaphors, the themes of doom and redemption, as well as the attempt to use direct address and indirect narration.
3. Both filmmakers partly relied on looping and metaphors to get their visions across. MacLaine developed the sense of hopelessness over the course of his film, while Conner played the emotions of his viewers, switching his film's tone from humorous, to erotic, to violent. Conners films also brought attention to the medium of film itself, while MacLaine's did not.
4. I'm not too familiar with the concepts behind the beatnik movement, but from what I understood while reading this chapter the two films are resemblance of Beat sensibility because the heroes are often mediators who exist in the real world and the allegoric one. The films were created very minimally, the editing was sparce, the music seemed random, and the lighting was uneven. The films didn't submit to any particular standards. As far as picaresque form, the stories resembled and followed a semi narrative structure of an adventure story. There is a hero in both who discovers and explores his environment.
5. Through the use of direct film manipulation, juxtaposition of images, and sometimes no images at all in a response to the avant garde cinema, these artists rebelled against the previous model.
6. That people collaborated on each others films. Even though having many artist work on one movie created less of a personal effect, this method allowed for the films to be better and communicate more to their viewers.
7. Zen For Film fixed the material and aesthetic terms of production by managing to avoid the standard forms of production and editing, as well as the focus on images themselves. His work brought the medium of film to attention on an extreme level. When the audience is presented with nothing on the screen except a few dust particles and scratches, they have no choice but to think about the film medium, there's nothing else to do.
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