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NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary. -
Warhol, Andy (As Filmmaker) (1928-1987) Andy Warhol
Warhol, Andy (as filmmaker) (1928-1987) Andy Warhol. by David Ehrenstein Image appears under the Creative Commons Encyclopedia Copyright © 2015, glbtq, Inc. Attribution-Share Alike 3.0 Unported license. Entry Copyright © 2002, glbtq, Inc. Courtesy Jack Mitchell. Reprinted from http://www.glbtq.com As a painter Andy Warhol (the name he assumed after moving to New York as a young man) has been compared to everyone from Salvador Dalí to Norman Rockwell. But when it comes to his role as a filmmaker he is generally remembered either for a single film--Sleep (1963)--or for works that he did not actually direct. Born into a blue-collar family in Forest City, Pennsylvania on August 6, 1928, Andrew Warhola, Jr. attended art school at the Carnegie Institute of Technology in Pittsburgh. He moved to New York in 1949, where he changed his name to Andy Warhol and became an international icon of Pop Art. Between 1963 and 1967 Warhol turned out a dizzying number and variety of films involving many different collaborators, but after a 1968 attempt on his life, he retired from active duty behind the camera, becoming a producer/ "presenter" of films, almost all of which were written and directed by Paul Morrissey. Morrissey's Flesh (1968), Trash (1970), and Heat (1972) are estimable works. And Bad (1977), the sole opus of Warhol's lover Jed Johnson, is not bad either. But none of these films can compare to the Warhol films that preceded them, particularly My Hustler (1965), an unprecedented slice of urban gay life; Beauty #2 (1965), the best of the films featuring Edie Sedgwick; The Chelsea Girls (1966), the only experimental film to gain widespread theatrical release; and **** (Four Stars) (1967), the 25-hour long culmination of Warhol's career as a filmmaker. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
Factory Girl Free Download
FACTORY GIRL FREE DOWNLOAD Pamela Oldfield | 160 pages | 03 Jan 2011 | Scholastic | 9781407116723 | English | London, United Kingdom Factory Girl (Rolling Stones song) Sign up here. The film is framed by Edie Sedgwick Sienna Miller being interviewed in a hospital several years after her time as an Andy Warhol superstar. Help Learn to edit Community portal Recent changes Upload file. We want to hear what you have to say but need to verify your account. Certified Fresh Picks. Beggars Banquet. Was this review helpful to you? Waiting Factory Girl a girl who's got curlers in her hair Waiting for Factory Girl girl, she has no money anywhere Factory Girl get buses everywhere, waiting for a factory girl. Micheal Compton. Andy Warhol dove into most things artistic; shaping Pop Art, producing The Velvet Underground, and making his own films. Namespaces Article Talk. In Factory Girl, a jumbled account of the short life and photogenic hard times of the first Andy Warhol superstar, Edie Sedgwick, Sienna Miller makes Sedgwick into an archetypal over-confident blond with a mannered young Kathleen Turner croak. Best Horror Movies. Add Article. Andy Warhol: You're the boss, applesauce! By the end of the film, I didn't think I learned anything true. We want to hear what you have to say but need to verify your email. Log in here. June 15, Clear your history. Sienna Miller defended the film against Dylan's allegations, saying in an interview with the Guardian, Factory Girl blames Warhol more than anyone, because he did abandon her Regal Coming Soon. -
The Creative Feud of Andy Warhol: a Philosophy of Communication Ethics”
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 5-11-2018 The rC eative Feud of Andy Warhol: A Philosophy of Communication Ethics Sarah DeIuliis Follow this and additional works at: https://dsc.duq.edu/etd Part of the Rhetoric Commons Recommended Citation DeIuliis, S. (2018). The rC eative Feud of Andy Warhol: A Philosophy of Communication Ethics (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1446 This One-year Embargo is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. THE CREATIVE FEUD OF ANDY WARHOL: A PHILOSOPHY OF COMMUNICATION ETHICS A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Sarah M. DeIuliis May 2018 Copyright by Sarah M. DeIuliis 2018 Sarah M. DeIuliis “The Creative Feud of Andy Warhol: A Philosophy of Communication Ethics” Degree: Doctor of Philosophy February 23, 2018 APPROVED ______________________________ Dr. Ronald C. Arnett, Dissertation Director Professor Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. Janie M. Harden Fritz, First Reader Professor Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. Craig Maier, Second Reader Assistant Professor Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. Ronald C. Arnett, Chair Department of Communication & Rhetorical Studies APPROVED ______________________________ Dr. James C. Swindal, Dean The McAnulty College and Graduate School of Liberal Arts iii ABSTRACT THE CREATIVE FEUD OF ANDY WARHOL: A PHILOSOPHY OF COMMUNICATION ETHICS By Sarah M. -
Cultural Infidels: Film and Performance for Consenting Adults 3-31 January 1990 Cultural Infidels: Film and Performance for Consenting Adults
Cultural Infidels: Film and Performance for Consenting Adults 3-31 January 1990 Cultural Infidels: Film and Performance for Consenting Adults 3-31 January 1990 Wednesday, 3 January Friday, 19 January Beauty #2 and Kiss (films) Looking for Langston (film) Andy Warhol Isaac Julien Flaming Creatures (film) Friday, 5 January Jack Smith lonesome Cowboys and Empire (films) John Kelly (performance) Andy Warhol Saturday, 20 January Saturday, 6 January Shelley Hirsch & David Weinstein Lonesome Cowboys and Empire (films) (performance) Andy Warhol John Kelly (performance) Tuesday, 9 January Tuesday, 23 January My Hustler and Sleep (films) Flesh and Eat (films) Andy Warhol Andy Warhol Wednesday, 10 January Wednesday, 24 January My Hustler and Sleep (films) Flesh and Eat (films) Andy Warhol Andy Warhol Thursday, 11 January Thursday, 25 January Karen Finley (performance) Douglas Dunn (dance) Friday, 12 January Friday, 26 January Dick (film) Three from Apparatus (films) Jo Menell Guillermo G6mez-Pefta (performance) Urinal (film) John Greyson Saturday, 27 January Karen Finley (performance) Kathy Acker (reading) Guillermo G6mez-Pefta (performance) Saturday, 13 January OWT (music) Tuesday, 30 January Karen Finley (performance) The Chelsea Girls (film) Andy Warhol Tuesday, 16 January Vinyl and Blow Job (films) Wednesday, 31 January Andy Warhol The Chelsea Girls (film) Andy Warhol Wednesday, 17 January Vinyl and Blow Job (films) Andy Warhol Cultural Infidels is supported in part with funds provided by the National Endowment for the Thursday, 18 January Arts. Promotional assistance provided by the John Kelly (performance) Twin Cities Reader. Andy Warhol Films Beauty #2 and Kiss 7 and 9:15 pm Vinyl and Blow Job Wednesday, 3 January 7 and 9 pm Tuesday and Wednesday, 16 and 17 January Beauty #2 1965, 16 mm-silent, 70 minutes segment Vinyl screened from the 105 minute original. -
Andy Warhol 12/28/07 10:26 PM
Andy Warhol 12/28/07 10:26 PM contents great directors cteq annotations top tens about us links archive search Andy Warhol Andrew Warhola b. August 6, 1928, Pittsburgh, Pennsylvania, USA d. February 22, 1987, New York, New York, USA by Constantine Verevis Constantine Verevis teaches in the School of Literary, Visual and Performance Studies at Monash University, Melbourne. filmography bibliography articles in Senses web resources When people describe who I am, if they don't say, 'Andy Warhol the Pop artist,' they say, 'Andy Warhol the underground filmmaker.' Andy Warhol, POPism Andy Warhol was not only the twentieth century's most “famous” exponent of Pop art but, “a post-modern Renaissance man”: a commercial illustrator, a writer, a photographer, a sculptor, a magazine editor, a television producer, an exhibition curator, and one of the most important and provocative filmmakers of the New American Cinema group of the early 1960s. (1) The influence of Warhol's filmmaking can be found in both the Hollywood mainstream film, which took from his work a “gritty street-life realism, sexual explicitness, and on-the-edge performances,” and in experimental film, which “reworked his long-take, fixed-camera aesthetic into what came to be known as structural film.” (2) At the beginning of the 1960s Warhol emerged as a significant artist in the New York art scene, his first Manhattan show – at the Stable Gallery in the fall of '62 – featuring Coca- Cola, Dance Diagram, Do It Yourself, Elvis, Marilyn and disaster paintings. In 1963 Warhol established a work space in a vacant firehouse – a hook and ladder company – on East 87th Street, and later that same year moved his studio to 231 East 47th Street, the space which came to be known as the Factory. -
Dangerous, Desperate, and Homosexual: Cinematic Representations Of
DANGEROUS, DESPERATE, AN D HOMOSEXUAL: CINEMATIC REPRESENTATIONS OF THE MALE PROSTITUTE AS FALLEN ANGELS. John Phillip Lay, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Harry M. Benshoff, Major Professor Sandra Larke-Walsh, Committee Member Chwee Lye Chng, Committee Member Ben Levin, Director of Graduate Studies C. Melinda Levin, Chair of the Department of Radio, Television and Film Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Lay, John Phillip, Dangerous, Desperate, and Homosexual: Cinematic Representations of the Male Prostitute as Fallen Angels. Master of Arts (Radio, Television and Film) May 2008, 132 pp., references, 136 titles. The purpose of this study is to frame the cinematic male prostitute as a “fallen angel” to demonstrate that the evolution of the cinematic hustler has paralleled historicized ideological definitions of male homosexuality. Because cultural understandings of male homosexuality frequently reflect Judeo-Christian ideological significations of sin and corruption, the term “fallen angel” is utilized to describe the hustler as a figure who has also succumbed to sin due to his sexual involvement with other men. This study constructs an epochal analysis of eight films that explores the confluence of the social understanding of homosexuality with the cinematic image of the hustler from the mid 1960s through the present. In doing so, this study shows that the image of the cinematic hustler is intricately tied to the image of the male homosexual in material cultures and eras that produce them. A filmography is included. Copyright 2007 by John Phillip Lay ii TABLE OF CONTENTS Page CHAPTER 1: PROSTITUTES AND ANGELS: AN INTRODUCTION. -
Warhol's Hustler and Queen Assembly Line
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Warhol’s Hustler and Queen Assembly Line: Deconstructing Factory Produced Genders and Their Roles in Contemporary Queer Culture Connor Matthew Marley Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Contemporary Art Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Marley, Connor Matthew, "Warhol’s Hustler and Queen Assembly Line: Deconstructing Factory Produced Genders and Their Roles in Contemporary Queer Culture" (2016). Senior Projects Spring 2016. 154. https://digitalcommons.bard.edu/senproj_s2016/154 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Warhol’s Hustler and Queen Assembly Line: Deconstructing Factory Produced Genders and Their Roles in Contemporary Queer Culture Senior Project Submitted to The Division of the Arts of Bard College by Connor Marley Annandale-on-Hudson, New York May 2016 1 Acknowledgments I would like to my express my heartfelt gratitude to my advisor, Alex Kitnick, for his tremendous guidance and support throughout this project. -
Factory Girl Ebook
FACTORY GIRL PDF, EPUB, EBOOK Pamela Oldfield | 160 pages | 03 Jan 2011 | Scholastic | 9781407116723 | English | London, United Kingdom Factory Girl PDF Book Download as PDF Printable version. He asks her to perform in one of his underground, experimental films. So Fresh: Absolute Must See! Factory Girl took great advantage of the justification for using all manner of film-making formats cutting to point-of-view shots through grainy black and white 8 MM film camera viewfinders. Factory Girl She agrees and goes on to star in several of Andy's projects, becoming his muse. One night, while in a drug-induced stupor, she falls asleep with a lit cigarette and nearly dies in the ensuing apartment fire. Also people who knew her give testimonies about her. Saturday Night Live: Season Edward Herrmann James Townsend. Technical Specs. Remembered for setting the world on fire Looking for something to watch? Email Address. It's one of the most disgusting, foul things I've seen — by any illiterate retard — in a long time. Best Horror Movies. Billy Quinn Musician: You're a prop to him, you're disposable! Quotes Edie Sedgwick : And what would I have to do in one of your movies? Edie tells the interviewer that to "stay off the drugs" is to be a battle every day, that she is pursuing art again and is glad to be home in Santa Barbara, California. Gerard Malanga. Jul 06, Holly Wiersma Producer. Let's get your review verified. Lovecraft Country: Season 1. The Rolling Stones. The Rolling Stones singles. Since real-life family and observers chime in over the end credits, perhaps the filmmakers were thinking the same thing. -
Deeply Superficial«
Mélanie-Chantal Deiss »Deeply Superficial« Image | Band 84 2015-08-25 09-54-51 --- Projekt: transcript.titeleien / Dokument: FAX ID 0251406888302004|(S. 1- 4) TIT3172.p 406888302012 Mélanie-Chantal Deiss (lic. phil.), geb. 1976, hat an der Universität Zürich Ger- manistik und Anglistik studiert. Sie unterrichtet seit 2004 Deutsch und Englisch am Gymnasium. 2015-08-25 09-54-51 --- Projekt: transcript.titeleien / Dokument: FAX ID 0251406888302004|(S. 1- 4) TIT3172.p 406888302012 Mélanie-Chantal Deiss »Deeply Superficial« Andy Warhols Amerika-Images der 1950er und 1960er als Kulturkritik 2015-08-25 09-54-51 --- Projekt: transcript.titeleien / Dokument: FAX ID 0251406888302004|(S. 1- 4) TIT3172.p 406888302012 Die vorliegende Arbeit wurde von der Philosophischen Fakultät der Universität Zürich im Herbstsemester 2013 auf Antrag von Prof. Dr. Elisabeth Bronfen und PD Dr. Christina Ljungberg als Dissertation angenommen. Publiziert mit Unterstützung des Schweizerischen Nationalfonds zur Förderung der wissenschaftlichen Forschung. Sämtliche Abbildungen zu/von Andy Warhol mit freundlicher Genehmigung von The Andy Warhol Foundation for the Visual Arts, Inc./2015, ProLitteris, Zurich. Dieses Werk ist lizensiert unter der Creative Commons Attribution-NonCommercial-NoDerivs 3.0 DE Lizenz. Diese Lizenz erlaubt die private Nutzung, gestattet aber keine Bearbeitung und keine kommerzielle Nutzung. Weitere Informationen finden Sie unter http://creativecommons.org/licenses/by-nc-nd/3.0/de Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2015 transcript Verlag, Bielefeld Umschlaggestaltung: Kordula Röckenhaus, Bielefeld Umschlagabbildung: Gruppe »We love Graveyards« auf www.facebook.com, 15.02.2015, Jaison Viglietta, Pittsburgh, 2014. -
ANDY WARHOL SCREEN TESTS, REELS # 1‐28 Running Time, Approx
ANDY WARHOL SCREEN TESTS, REELS # 1‐28 Running Time, approx. 4 minutes each Test. Reel 1 ‐ #1 Charles Arsberg (1966) #2 Roderick Clayton (1966) #3 Imu (1964) #4 Peter Hujar (1964) #5 Amy Taubin (1964) #6 Alicia Purchon Clark (1965) #7 Hal (1964) #8 Susanne De Maria (1964) #9 Danny Foster (1966) #10 Virginia Tusi (1965) Reel 2 ‐ #1 Amy Taubin (1964) #2 Bibbe Hansen (1965) #3 Nancy Fish (1964) #4 Jim Rosenquist (1964) #5 Donyale Luna (1965) #6 Steve Balkin (1964) #7 Marilynn Karp (1964) #8 Cathy James (1965) #9 Tina (1965) #10 Kellie (1965) Reel 3 ‐ #1 Henry Geldzahler (1965) #2 Twist Jim Rosenquist (1964) #3 Beverly Grant (1964) #4 Pat Hartley (1965) #5 Roderick Clayton (1966) #6 Tony Towle (1963) #7 Kyoko Kishida (1964) #8 Charles Aberg (1966) #9 Paul Thek (1964) #10 Gerard Malanga (1964) Reel 4 ‐ #1 Buffy Phelps (1965) #2 John Giorno (1964) #3 Paul Wittenborn (1965) #4 Kenneth King (1964) #5 Dennis Hopper (1964) #6 Kipp Stagg (1965) #7 Richard Markowitz (1964) #8 Dennis Hopper (1964) #9 Richard Schmidt (1965) #10 Gregory Battcock (1964) Reel 5 ‐ #1 Dennis Hopper (1964) #2 Peter Hujar (1964) #3 Bruce Rudow (1964) #4 Francois de Menil (1965) #5 Patrick Fleming (1966) #6 Helmut (1964) #7 Ivy Nicholson (1965) #8 Jane Holzer (1964) #9 Walter Dainwood (1964) #10 Paul Katz (1966) Reel 6 ‐ #1 Charles Rydell (1964) #2 Dan Cassidy (1965) #3 David Hallacy (1964) #4 Francois de Menil (1965) #5 Roderick Clayton (1966) #6 Gerard Malanga (1964) #7 Jean‐Paul Germain (1965) #8 Kenneth King (1964) #9 Charles Aberg (1966) #10 Lawrence Casey (1964) Reel