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.