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First published in 2012 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010.

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ISBN: 978–0–230–34144–9

Library of Congress Cataloging-in-Publication Data

Dika, Vera, 1951– The (moving) pictures generation : the cinematic impulse in downtown New York art and ﬁlm / Vera Dika. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 978–0–230–34144–9 1. Art and motion pictures—New York (State)—New York— History—20th century. 2. Art, American—New York (State)— New York—20th century. 3. Experimental ﬁlms—New York (State)—New York—History—20th century. I. Title. N72.M6D55 2012 709.0407—dc23 2011039301

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Contents

List of Illustrations ix

Acknowledgments xi

Prologue: Downtown New York in the Late 1970s and Beyond xiii

(Moving) Pictures

1 (Moving) Pictures: Introduction 3

2 Stillness/Movement: Joseph Cornell, Edison Company, Andy Warhol, Jack Goldstein 23

3 The Female Body and the Film Frame: Andy Warhol, Cindy Sherman 33

4 Vivienne Dick’s Film Portraits 53

Community

5 Amos Poe and the New York New Wave 71

6 Downtown and Community: Eric Mitchell, James Nares, Nan Goldin 87

Narrative Expectations

7 Strategies of Transformation: Jack Goldstein, Robert Longo, Cindy Sherman 119

8 Strategies of Opposition: Eric Mitchell, Kathryn Bigelow, Lizzie Borden 141

The Cinematic Body

9 Performance and the Cinematic: Paul Swan, Eric Bogosian 155

10 The Ephemeral Body/The Female Voice: Louise Lawler, Ericka Beckman 167

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Downtown and the Mainstream

11 Incursions into Popular Culture: Robert Longo, Cindy Sherman, Kathryn Bigelow 181

Conclusion and Continuation 205 Notes 211

Bibliography 227

Index 233

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Chapter 1

(Moving) Pictures: Introduction

...the avant-garde is never historically effective or fully signiﬁcant in its initial moments. It cannot be because it is traumatic—a hole in the symbolic order of its time that is not prepared for it, that cannot receive it, at least not immediately, at least not without structural change ...the avant-garde project in general develops in deferred action. Once repressed in part, the avant-garde did return, and it continues to return, but it returns from the future. Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century

They named it Metro Pictures. The film studio? No, the gallery. The confu- sion was intended when the New York art gallery Metro Pictures, founded by Helene Winer and Janelle Riering, opened its doors in 1980.1 Film images, film history, the institution of film had infused the work of its major “Pic- tures” artists Robert Longo, Jack Goldstein, and Cindy Sherman in ways distinctive of their generation. This is not to say that previous generations of artists and filmmakers had not included preexisting film images into their work or had not drawn on cinematic sources for inspiration. Examples can be seen in the work of Joseph Cornell in the 1930s, of Bruce Conner in the 1950s, and of Andy Warhol in the 1960s. But the generation that came into prominence in the late 1970s was different. The manner in which these artists utilized aspects of the cinematic set them apart, primarily because of the way they engaged cinematic movement, time, and the body in their work, but also because of the number of different mediums they employed. The younger artists transformed performance, sculpture, photography, and film in the exploration of the cinematic itself (Figure 1).2 This impetus is embodied, for example, in Robert Longo’s sculpture of Muybridge-like sequential movement in Seven Seals for Missouri Breaks (1976), in Jack Goldstein’s rotoscoped

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4 (Moving) Pictures

Figure 1 Robert Longo, Seven Seals for Missouri Breaks, 1976 © Robert Longo

film loop of a repeating action in The Jump (1978), and in Cindy Sherman’s narratively inspired photographs Untitled Film Stills (1977). And it is here, at this practice of crossing mediums in the contemplation of the cinematic, that we can extend our view to a wider group of artists, ones working at the same time and with a similar set of concerns. Certain Downtown New York performance artists, photographers, and filmmakers also engaged aspects of the cinematic to address their concerns. Eric Bogosian’s performance piece “Men Inside,” for example, is a set of temporally framed “portraits” alluding to cinematic representations, and Nan Goldin gives us a narrativized photographic slide show of her Bowery “fam- ily” in The Ballad of Sexual Dependency (1979–present), moving in time. Amos Poe, on the other hand, uses film directly, and in Unmade Beds (1976) points to the layered history of cinema, and of the image, by “remaking” Godard’s already allusive Breathless (1959). Other artists approached more mainstream forms of filmmaking to extend their art world concerns. We can note, for example, Cindy Sherman’s engagement of the body in her low- budget Stalker Film Office Killer (1995), Kathryn Bigelow’s isolation of cinematic figure movement, as gesture, pose, and pure action, in the surf- ing movie Point Break (1991),3 and Julian Schnabel’s contemplation of disembodied cinematic vision in The Diving Bell and the Butterfly (2007). In this book I will discuss a generation of late 1970s artists—ones trained primarily in art schools rather than film schools, but whose fascination was with “the movies.” In some ways their work bears a significant relationship to earlier American avant-garde film practices, especially to the

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Introduction 5

Structural film of the late 1960s and early 1970s, either as an extension of their formal and conceptual concerns or in opposition to them. In other ways, the cross-boundary impetus of these artists often explicitly references Hollywood sources, as did the work of Andy Warhol, and like that work, can sometimes edge toward mainstream practices. The younger artists, however, engage the cinematic by making sculptures of movies, photographs of movies, performances of movies, or even films of movies. And they often do so by referencing the inspiration of earlier artists and filmmakers. While the boundaries have been blurred in practice, criticism has lagged behind. The discussion of the film production during this period has largely been kept separate from the commentary on the visual and performing arts.4 And when the connection has been made, the assessment of what constitutes the “cinematic” is not clearly defined. I will address this omission by considering the practices of the period more specifically, reviewing them in terms of a distinctive cinematic impulse, and by placing them within their art and film historical contexts.

Pictures In 1977 the critic Douglas Crimp introduced the term “pictures” to explain the work of a new generation of artists and to signal a return to representation after a period of abstraction in the arts.5 Since its original coinage, Crimp’s descriptive term has become widely accepted. A 2009 show at the Metropoli- tan Museum of Art entitled “The Pictures Generation: 1974–1984,” for example, revisited the period. Curated by Douglas Eklund, this exhibition expanded the number of artists initially addressed by Crimp and declared the practice to be the “last important art movement of the twentieth century.”6 Eklund’s impressive show, however, considered only a portion of the films and film-inspired productions of the late 1970s and beyond. And while the cinematic influence of some of the work included was addressed, it was not Eklund’s project to explore the cinematic in depth.7 It is here that I would like to make a contribution. In the present volume I will expand and reconfigure the group of significant artists for study on the basis of their distinctive cinematic activity. To help define this practice and to begin a consideration of the possible definitions of the “cinematic,” it is best to revisit why Crimp selected the term “pictures” in the first place. We can look at what the word implies, and later we can discuss its inherent cinematic dimensions. Crimp explained the reasons for naming his groundbreaking show in the following way:

In choosing the word pictures for the show, I hoped to convey not only the work’s most salient characteristic—recognizable images—but also and most importantly the ambiguities it sustains. As is typical of what has come to be called postmodernism, this new work is not conﬁned to any particular medium; instead it makes use of photography, ﬁlm, performance, as well as traditional

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6 (Moving) Pictures

modes of painting, drawing, and sculpture. Pictures used colloquially is also nonspeciﬁc: a picture might be a book of drawings or photographs, and in common speech a painting, drawing, or print is simply called a picture.8

Crimp includes “film” as one of the mediums that postmodern artists used in their return to recognizable images, but he does not explore the concept further. And while Crimp acknowledges that the term “pictures” is nonspecific in its meanings, referring to different types of representations, he omits that the word has long been used as a colloquialism for “the movies.” American films from the 1940s and 1950s, for example, will sometimes refer to “pictures” in their lines of dialogue, with characters asking, “Do you want to go to the picture show?” or declaring, “We’re going to make this picture!” And of course the film studio Metro Goldwyn Mayer has been referred to as “Metro Pictures,” while the term “motion pictures” is still today used to mean the movies.9 And it is here that we get closer to issues of central importance to the present book. “Motion,” “time,” or the institution of “Hollywood” are not usually expounded upon when “pictures” is thought of as painting or drawing or seen primarily in terms of the meaning of the image. The use of figuration, especially as derived from cinematic sources, is a significant feature of many of the Pictures artists’ work, but the cinematic movement potential of these represented figures is rarely discussed. And while Crimp does address the rise of “temporality” in this practice, he does not mention the importance of cinematic time, that is, mechanically produced time, or the movement potential of film as a whole. Moreover, the works’ relationship to Hollywood’s institutional practices—its systems of production, distribution, and exhibition—is not addressed. The question now becomes what the term “Pictures” would mean if we were to add con- siderations of the cinematic to its interpretation of returned representational art and film practice of the late 1970s and beyond? First to consider is that the term “motion pictures” has traditionally been used to describe a different practice from that of the avant-garde film. Noel Carroll, for example, writing from a modernist perspective, argues that “motion pictures” is an unacceptable term when used to reference the film medium. Carroll explains that certain avant-garde films, those by Stan Brakhage and Harry Smith, for example, are abstract, and so not well served by the term. Carroll writes:

...there is one limitation in calling the relevant art form moving pictures. For the term “pictures” implies the sort of intentional visual artifact in which one recognizes the depiction of objects, persons, and events by looking. But many ﬁlms and videos are abstract, or non-representational, or non-objective.10

From this observation, we must acknowledge that the introduction of the term “moving pictures” into an art context would imply a particular type of ﬁlm and art practice, one associated with photographic realism and with narrative form. Moreover, “moving pictures” or “motion pictures” are terms

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Introduction 7 often used to refer to mainstream film, and so connote film utilized as a mass cultural product. By Crimp’s naming the new art “pictures,” then, and by the gallery being dubbed “Metro Pictures,” certain aspects of the cinematic have been consciously or unconsciously alluded to. Douglas Crimp has written that there is a considerable “photographic” impulse to the postmodern art of the period.11 In his contemplation of this photographic activity, Crimp discusses the presence/absence of the pho- tographed objects, the question of authorship in these works of mechanical reproduction, and the museum as an institution of selection and exhibition. Here, by definition, Crimp addresses the works as static objects. If we open the discussion to include the impulse of the cinematic, we are presented with a whole new set of concerns, ones that not only address the movement and time potential of the works, but also of film history, and of film as an institution. In an attempt to describe an impetus that moved freely between boundaries, I am suggesting that we look at the idea of “pictures” and apply an expanded cinematic version of it, not only to artists who made film-inspired work, but also to practitioners who made film itself.

What Is the “Cinematic”? Any attempt to address the cinematic may at first seem like a reductive quest to locate film’s “essence,” that is, to answer the question “What is Cinema?” A look across history, however, reveals that film has been theorized, and practiced, as having not one but many essences. For Sergei Eisenstein, for example, film is distinguishable from the other arts in its editing capabili- ties and is especially potent when employing dialectic montage. For Andre Bazin, on the other hand, film is distinctive in its ability to reveal reality to us, particularly via the long-take and deep space style of the Italian neo- realist filmmakers. Stan Brakhage rejected the notion of cinematic realism and was instead interested in personal vision, using his camera as an extension of his emotions, thereby fragmenting the visual field, and any bodies rendered there, in an abstract, or quasi-abstract, play of light and movement. Andy Warhol took a radically different approach to film. For Warhol, cinema was the camera’s fixed stare, the automaton’s look at time unfolding, especially as it focused on the bodies and emotional states of his “Superstars.” So when we attempt a description of the “cinematic” in late 1970s art and film, it is perhaps best to start by inquiring what “film” or “the movies” may have meant to this generation of artists themselves. Among this group of artists we find an unprecedented insistence on making reference to cinema in transformative terms, by manipulating the conditions of one art form through the properties of another, allowing us to contemplate film anew.12 I will begin by presenting a number of often casual observations about film made by the artists themselves, ones that reveal this emerging tension between opposing forms. Robert Longo, for example, once referred to a drawing of the artist Gretchen Bender, whom he often

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8 (Moving) Pictures pictured in his art, as being “like a movie,” certainly commenting on Ben- der’s beauty and grace, but also underlining the degree to which ﬁlm images had entered our daily perceptions.13 Cindy Sherman also acknowledged her debt to cinematic sources in this oppositional way. Sherman once described her early engagement with magazine photographs that looked like movies: “They seemed like they were from 1950s movies, but you could tell that they weren’t real movies.”14 Eric Bogosian evidences a somewhat different sensi- bility, claiming William S. Burroughs as a major inspiration, yet describing the author’s writing method as “cinematic.” Bogosian comments:

Burroughs sees himself as a camera ﬂashing images in the manner of a ﬁnely cut montage. But more than that, the camera observes and relates the greasy details of life without the responsibility of attitude. You turn the camera on things that fascinate you.15

And lastly, Amos Poe remembers that his conversations with musicians Patti Smith and Deborah Harry, for example, or with painters Julian Schnabel and David Salle were not about the specific mediums in which those artists worked, but rather, about film, and Jean-Luc Godard and Andy Warhol films in particular. Poe adds, “I didn’t even know David Salle was a painter, and I had known him for six months, because he never once spoke about painting. He always talked about film.”16

Aesthetic Strategies The list of artists and filmmakers who engaged the cinematic in distinctive ways during this period is considerable and will take the rest of this volume to explore, as will the permutations of the cinematic they utilized. In order to understand this impetus, however, we must further inquire into the cinematic aspects of interest to the artists and the aesthetic strategies they used in that contemplation. There are a number of ways we could proceed. We could attempt, for example, a formal inquiry of the works, addressing such aspects as the film frame, the shot, or the editing conven- tions, and look for the way these properties were utilized. Or, we could consider a material approach, noting objects such as the film camera, the celluloid base, or the film screen, in an attempt to define cinematic character- istics that were engaged. And while these methods today seem outmoded in terms of medium specificity, especially since new technologies have obscured the boundaries that once seemed to distinguish moving image mediums (the specificity of film’s celluloid indexicality, for example, as opposed to computer-generated images, or film’s projection of light onto a screen as opposed to light emanating from a TV screen), the formal and material approaches to film are not to be totally abandoned. They must, however, be refocused to address the era-specific concerns of the late 1970s artists and filmmakers. These Downtown New York practitioners were unknowingly working on the eve of technological advances, and perhaps because they sensed the

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Introduction 9 instability among all boundaries, they worked across mediums. But perhaps most importantly, they did so in ways that utilized the formal and material, as well as narrative, properties of film in a “conceptual” manner. While it is beyond the scope of this book to link the later practice to Conceptual Art proper,17 I will continue to use the term “conceptual” for a number of reasons. First, in the newer work, the ideas arising from the making of the art object often tend to dominate the fact of the object itself. And even though the “art object” in these works is not quite “dematerialized,” in the literal sense, it is often “ephemeral,” at least in the cinematic sense. The productions are distinguished because they often allude to the film image as fleeting, or to the cinematic body as moving, or because they frequently render films that are not readily available for viewing (even by avant-garde standards), or even wholly “watchable” in the commercial sense. Instead, it is the very exer- cise of returning to filmmaking that is being foregrounded, especially when narrative is employed. Our first hint of this generation’s conceptual approach to the form and material of film can be seen in the instruments used by artists who chose to work in filmmaking directly. Some Downtown New York filmmakers of the late 1970s, such as Amos Poe in Unmade Beds, shot in 16mm, a format typ- ically used by an earlier avant-garde generation. Others shot in Super 8, as did Eric Mitchell in Kidnapped, Ericka Beckman in We Imitate/We Break- up (1978), and James Nares in Rome ‘78, in some ways recalling the home movies of the 1950s and 1960s. But while there was something vaguely nos- talgic in this usage, a lingering sense of the past returning on a material level, there was also an irreverent attitude, a mockery of established guidelines. This disjunction became especially apparent when some of the filmmakers who made Super 8 films made “narrative” films (narrative being a form long rejected by the avant-garde film18) and then made the films feature length! Any reference to mainstream filmmaking through these strategies, however, was soon destabilized by the makeshift cinematic techniques that were employed and by the loosely strung together “stories.” The new works may have felt like the avant-garde of the 1960s because of their “underground” status, or may have looked like Super 8 home movies of the 1950s because of their “amateur” quality, but the artists’ overall goals were altered. The Downtown New York filmmakers challenged the established avant-garde, especially the minimalist strategies of 1960s and early 1970s Structural film. The younger filmmakers “returned to representation,” that is, they approached narrative, and they returned images of the body to the vacated frame of Structural film. In the previous generation, artists had searched for film’s “essence,” rejecting representational models with sources in painting, in the novel, or in theater. For the younger filmmakers, however, there were too many aspects of the cinematic still left unaddressed, and they returned to explore it once again. Examples of minimalist practice can be seen in the work of Structural filmmakers such as Paul Sharits in T,O,U,C,H,I,N,G (1969) and Tony Conrad in The Flicker (1966). Here, the filmmakers pursue the notion of “pure cinema,” radically reducing the representational properties of the film

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10 (Moving) Pictures image and of narrative. Sharits, for example, presents a sensory barrage of alternating single frames, ones containing images of his own face in color negative, along with an aggressive soundtrack repeating the word “destroy.” The effect is to severely block meaning and to emphasize surface. Conrad accomplishes a similar effect as the imageless black-and-white frames of his film follow in rapid alternations for 30 minutes, creating glaring afterimages in the eyes of the viewer. And when a recognizable space is presented in a Structural film, such as the loft space in Michael Snow’s Wavelength (1967) or the receding corridor in Ernie Gehr’s Serene Velocity (1970), images of the body19 and the narrative possibilities that they might imply are suppressed or excluded. Snow’s Wavelength, for example, offers a 45-minute zoom across an empty loft. And even when several people do enter the recesses of the space in this film, implying the possibility of a story (and even a “murder”), this encounter is brief, and the “characters” soon leave the frame. The audience is left only with the camera’s relentless progression across the space. In reaction to these minimalist practices, the younger Downtown New York artists approached their work as “(moving) pictures.” That is, they returned to photographic realism in film or to film-inspired images in art, and they often did so by returning images of the cinematic body in movement. They also approached narrative, whether actual or implied. Moreover, they did this with a palpable sense of a “resuscitation,” or “reanimation,” of a previously suppressed film form. The interest in photographic realism, in the states of the cinematic body, and in more mainstream film practices is not new within the history of the avant-garde film. Andy Warhol too had explored the body on film, its tex- tures and its poses, its narratives, even its soul, and through it, cinematic time and movement (Figure 2).20 In fact, the critic Annette Michelson notes that Warhol had initially caused a pivotal “rupture” in the history of the avant-garde film by this very practice. In the following quote, Michelson sit- uates Warhol historically, acknowledging his reintroduction of the integrated body after Stan Brakhage’s cinema of “part objects” and before Snow and Frampton’s cinema of “incorporeality.” She writes:

...Warhol’s intervention [is] a major and pivotal force within the American independent cinema ...the passage, within that cinema, from the body’s ana- lytic representation, to one of synthetic incorporation. Most simply put, the notion of rupture will center on the break within the American independent cinema in the representation of the body and the consequences of that break: the passage of the cinema of part objects to that of the whole body, and its paral- lel passage from one of assertive editing to that of the long shot/plan sequence. What later followed was the development of a cinema tending to incorporeality, as in the work of Snow and Frampton—“the taste’s quick glance of incorporeal sight,” of a cinema of textuality.21

Along with his interest in the cinematic body, Warhol had also been intrigued by the allure of Hollywood, its narrative forms of ﬁlmmaking, and its

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Introduction 11

Figure 2 Andy Warhol, Beauty #2, 1965 institutional practices. In so doing, however, as P. Adams Sitney has noted, Warhol turned against the American avant-garde film itself.22 We could say that the Downtown New York artists and filmmakers returned to Warhol- like concerns in the practice of the cinematic, countering established art practices, in this case, the Structural avant-garde that had just preceded them, by returning to forms of cinematic representation. But Warhol’s work does not supply an easy symmetry with that of Downtown New York in the late 1970s. The younger artists were now more interested in cinematic movement than in stasis, in feminist issues of speech and representation, and in some cases, in actually entering dominant forms of filmmaking. The younger artists functioned within a new historical and cultural context, and so they worked in a way that ultimately managed to extend, contradict, and even shed new light on elements of Warhol’s cinematic project. In order to understand this practice, we must ask a new set of questions.

Critical Perspectives Important to consider are the theoretical texts discussed in the 1970s, not necessarily to embrace their approaches, but to acknowledge their insights. The turn away from minimalist practices and the return to issues of representation during this period was surrounded by similar concerns in theory and criticism. Film theory witnessed a change of perspective from formalist to semiological approaches. Christian Metz, as a leading proponent, explored

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12 (Moving) Pictures the extent to which the “codes of cinema” comprised a true language. And while Metz ultimately abandoned his quest to establish film structures as anal- ogous to spoken language, his expansion of the notion of the “cinematic” to include institutional practices will provide a backdrop from which to view this generation’s engagement with film production, distribution, and exhibition, especially those that take Hollywood as a model. The major art critics of the Pictures Generation, such as Douglas Crimp and Hal Foster, rarely address film directly, but their insights are also cru- cial to consider. These critics take a cultural and institutional approach to the study of their subject, addressing contemporary art practice as systems of meaning. Influenced by the Poststructuralist writings of Roland Barthes, Jacques Lacan, and Jacques Derrida (whose works had a considerable impact on film criticism as well) they approach contemporary art with a conviction that we live within culturally coded signifying practices. Foster, in particular, sees the prevailing new art in terms of the “anti-aesthetic,” one rejecting of the formalist approaches of modernism, and instead enacting a critical deconstruction of representation itself, a critique of culturally coded high art and mass art forms.23 The major operational strategies of this new critique are “appropriation” and “recontextualization,” methods that change meaning by revealing the signifying strategies of cultural representations through newly found juxtapositions. Examples of this method can be found in Cindy Sherman’s photographic series Untitled Film Stills, noted earlier. Here Sherman is said to critique the representation of women by evoking film images of female stereotypes and then recontextualizing them within a gallery setting. It has also been argued that Sherman challenges the “male gaze,” thus acknowledging the process of reception by subverting the objectification of women through her own authorship.24 The artist Barbara Kruger has been addressed in a similar manner, noting that her work accomplishes a critique by appropriating photographic images from mass culture and recombining them, using written captions to confront the viewer.25 And Louise Lawler accomplishes an institutional critique through her photography, which features works of art now recontextualized in museum and gallery spaces, and in collectors’ homes. The practice of exhibiting art is thus brought to the fore, as is the work’s status as a commodity. These critical conclusions have addressed the “return of representation” evidenced in Pictures art and have long provided valuable insights to the understanding of this practice, especially in foregrounding their feminist and institutional critiques. Yet, this approach does not fully explain other under- lying dynamics within many cinema-inspired works of the period, ones too insistent to ignore. What happens, for example, when Jack Goldstein employs a cinematic reference in his performance called Two Fencers (1977)? Goldstein’s performance mesmerizes us as we watch a visually pulsating scene of two fencing figures illuminated by a strobe light and accompanied by a Hollywood

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Index

Note: Page numbers in italics refer to illustrations. The locators preceded by ‘n’ denotes note numbers. absence, 33, 215 n8 Armstrong, Gillian Abstract Expressionists, 25 Little Women, 199 Acconci, Vito, 101, 126 Arsenal Cinema, 108 action films, 199–203 Arthur, Paul, 213 n4 adventure genre, 199–200 Artists Space, 53, 106 Aero Theater, 21, 143, 168–71, 169 Astor, Patti, 76–7, 88–9, 95, 98, 105, 142 African American women, 149 audience, 21, 26–9, 94, 95, 111, Ahearn, Charlie, 212 n27 158–65, 168–72, 184, 186, 196, Ahrenberg, Staffan, 189 215 n9 AIDS, 114 Auslander, Philip, 160, 164–5 authorship, 7, 12, 18–20, 31, 34, 40, Akerman, Chantal, 19, 20, 54 73–5, 85, 88, 158, 165, 184 Jeanne Dielman, 56–8, 61, 64, 150 “autistic stare,” 17, 37, 39, 105 Je tu il elle, 56, 58, 61, 113 avant-garde, earlier, 4–5, 9–10, 19, 53, Albright-Knox Art Gallery, 126 92, 127, 141, 143 Alien, 193 Akerman and, 54 All Color News (cable TV station), 101, Beckman and, 174–5 220 n6 Buffalo and, 21, 128 American Graffiti, 72, 80, 145, 147 Dick and, 54, 60, 64 American manhood myth, 131, 172–3 mainstream culture vs., 6, 15, 17, American Museum of the Moving 101–2, 119, 182, 184 Image, 27–8, 215 n7 Mitchell and, 99, 143 Anger, Kenneth Nares and, 103 Scorpio Rising, 144, 146 Poe and, 72–3, 76–7, 85 Anthology Film Archives, 92, 215 n8 postmodern and, 198 anti-illusionism, 72–3, 75, 78–9, 81, return to representation and, 87–8, 96–8, 102, 110, 122, 126, 53–4 156–7, 182 Schnabel and, 207 Antonioni, Michelangelo, 16, 20, 92, Warhol and, 10–11, 18, 25–6 98, 108–9 see also specific artists “any-instant-whatevers,” 16, 47, 124, 130, 132, 134, 217 n35 Baader Meinhof Gang, 94, 98 appropriation, 12, 15, 73–5, 87, 139, Bacall, Lauren, 24 189, 202, 219 n2 Baim, Richard, 110 Arbus, Diane, 109–10 Rise and Fall, 222 n36 architecture, 135, 190, 207 Watch and Wait, 222 n36

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234 Index

Baldessari, John, 20, 120, 125–7, Bogosian, Eric, 8, 21, 134–7, 148, 213 n7 155–6, 158–65, 181–2, 197, Concerning Diachronic/Synchronic 224 n7, n10 Time, 126 Arena Brain, 185–7 AMovie, 126, 213 n7 “Fascination,” 162 Ballet Mechanique, 207 Funhouse, 161, 163–4, 163 Barthes, Roland, 12, 111, 126, 217 n33 Men Inside, 4, 161 Bauby, Jean Dominique, 206 The Ricky Paul Show, 158 Bazin, Andre, 7, 74, 96, 132 SubUrbia, 182 Bear, Lisa, 220 n6 Talk Radio, 21, 155, 158–60, 165, Beckman, Ericka, 21, 167, 174–8, 205, 185, 188 207–8 Bonney, Jo, 224 n10 The Broken Rule, 176 Funhouse, 164 OutofHand, 176–8, 176 Borden, Lizzie, 21, 107, 141, 144, 182 Switch Center, 207 Born in Flames, 148–9, 187 We Imitate/We Breakup, 9, 175–6 Working Girls, 107, 148–50, White Man Has Clean Hands,22 224 n10 Bellini, Orlando, 76 boundary crossings, 3–9, 15, 17–21, 53 Belmondo, Jean-Paul, 88–9 see also speciﬁc artists and mediums Bender, Gretchen, 7–8, 188 Bowes, Ed, 135, 144, 148 Dumping Core, 188 Romance, 135 Benjamin, Walter, 126 Braid Media Arts, 192 Bergson, Henri, 16, 32 Brakhage, Stan, 6, 7, 10, 25–6, 105, Berkely, Busby 126, 176, 206 Dames, 218 n1 Dog Star Man, 208 42nd Street, 218 n1 Window Water Baby Moving,77 Berlin Film Festival, 108 Branca, Glenn, 135 Bernini, Gian Lorenzo Brando, Marlon, 89, 130–1, 146 Apollo and Daphne, 132 Brauntuch, Troy, 212 n1, 214 n36 Ecstasy of St. Teresa, 132 Brecht, Bertolt, 56, 67, 218 n6 Bertei, Adele, 58–9, 67, 148 Breton, Andre Beth and Scott B., 57, 92, 150 Nadja, 139 Bigelow, Kathryn, 21, 141, 181–4, 205, Broken Blossoms, 222 n30 213 n3, 223 n3, 225 n4 Brooks, Louise, 41 The Hurt Locker, 183 Buckley, Jeff, 210 The Loveless, 144–9, 145, 199 Buffalo State College, Media Studies Near Dark, 144, 198 Center, 73, 120, 125–9, 137, Point Break, 4, 144, 183, 198–203, 139 201, 226 n23 Bunuel, Luis The Set-Up, 144, 199 Un Chien Andalou, 54, 65, 139 Strange Days, 183, 198 Burden, Chris, 126 Biograph Company Shoot, 160 Tom, Tom, the Piper’s Son, 73–4 Trans-ﬁxed, 160 Blade Runner, 185, 189–90, 192 Buren, Daniel, 126 Bloom, Jake, 137 Burgess, Anthony Bochner, Mel, 101 A Clockwork Orange, 93–4, 97 body genres, 226 n23 Burroughs, William S., 8, 162–3 see also cinematic body Burton, Johanna, 50, 218 n38, n41 Body Heat,72 Burton, Richard, 89 Bogart, Humphrey, 88, 191 Buscemi, Steve, 185, 187

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Busey, Gary, 200 Goldstein and, 29–31, 121–2, 160, Bush, George H.W., 159 165 Byrne, David, 155, 181 Lawler and, 21 True Stories, 182 Longo and, 20, 129–30, 189, 192 Mitchell and, 88, 90–1, 96 Cabiria, 103 performance art and, 21, 160, 165 California Institute of the Arts (Cal reintroduction of, 10, 54, 107–9 Arts), 120, 125–6 Schnabel and, 206 camera Sherman and, 41, 195–7 fixed, 7, 26, 30, 38–41, 73, 95, 96, transformative strategies and, 15 107, 113, 156 Warhol and, 10, 17–18, 26, 88, 120 moving, 26, 60–1, 66–7, 95–7, see also female body; male body; 99–100, 105, 138, 209 movement and stasis camp, 157 cinephilia, 127 camping, 103 Cleopatra,89 Campion, Jane Clift, Montgomery, 170, 172–3 The Piano, 199 close-up, 17 Caravaggio, Michelangelo da, 108, 113, Akerman and, 56 115 Cornell and, 24 Carroll, Noel, 6, 193, 219 n2 Deleuze on, 216 n9 Casebere, Jim, 175–6 Deren and, 54–5 Cassavetes, John, 77, 105, 108 Dick and, 62 Husbands, 109 Goldin and, 109 CBGB, 62, 71, 95, 106, 219 n1, 224 n7 Goldstein and, 208 celluloid Longo and, 185–6 bubbles on, 27 Mulvey on, 202 death of, 82, 158, 173–4 Nares and, 221 n19 “imprint” process, 130 Poe and, 84, 89–90 indexicality of, 8, 103, 132 Schnabel and, 206 painting on, 25 Sherman and, 45, 50, 197 video vs., 128 Warhol and, 34–5, 37–40, 62, 157 Chance, James, 101, 104 Clough, Charlie, 127, 223 n13 Chatham, Rhys, 135 Cocteau, Jean Chirico, Giorgio de, 139 Beauty and the Beast, 182 Chrysler Building, 186, 209 Blood of a Poet, 50, 182 “cinema of the body,” 87–8 Orpheus, 182 “cinema of the body of attitudes,” 56 Testament of Orpheus, 182 Cinematheque Français, 127–8 Collaborative Projects (Colab), 91–2, “cinematic,” defining, 3, 5–8, 12–19 101, 220 n6 cinematic body, 14, 16–19, 21, 119–20 “conceptual,” defined, 9 absence of, 121, 124, 167, 206, 208 Conceptual Art, 9, 101 Beckman and, 174–8, 207 Conner, Bruce, 3, 126 Bigelow and, 198–202, 226 n23 AMovie, 126 Bogosian and, 160, 165 Conrad, Tony, 120, 125–7, 129–30 Burden and, 160 The Flicker,9–10 Deleuze on, 16, 56, 109, 114 consciousness, 138–9, 176, 207 Deren and, 174–5 Contortions, The, 59, 62, 71, 97, 101 Dick and, 65–7 Cook, Lynne, 211 n9 Goldin and, 107–9, 112–15 Corcoran Gallery, 190

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236 Index

Cornell, Joseph, 3, 19, 23–5, 214 n36 dialogue, 78 Greta Garbo, 24–5 Beckman and, 175 Rose Hobart, 74–5 Bigelow and, 146, 200, 202 counterculture, 107, 200, 210 Lawler and, 173 crime/gangster ﬁlm genre, 79–81, Longo and, 186, 191 189–90, 199–200 Mitchell and, 97 Crimp, Douglas, 5–7, 12, 14, 45–6, 48, Poe and, 83–4 130–1, 173, 211 n9, 213 n5, Warhol and, 102 214 n36, 222 n5 Diana the Huntress, 157 Crow, Thomas, 120 Dick, Philip K., 189 “crystalline moment,” 32, 41 Dick, Vivienne, 20, 53–4, 57–68, 71, Curtis, Jackie, 142 92, 106–7, 150, 219 n15, cyberpunk genre, 189–92 221 n15 Beauty Becomes the Beast, 17, 58, Dafoe, Willem, 145–7, 145 64–8, 221 n15 Dali, Salvador Guerillere Talks, 59–64, 63 Un Chien Andalou, 54, 65, 139 Liberty’s Booty, 107, 224 n10 Spellbound, 182 Dickson, W.K.L., 38, 51 Danto, Arthur, 45 Dietrich, Marlene, 40, 108–9 Dassin, Jules Dika, Vera The Naked City, 79, 91 “Robert Longo,” 212 n2 Dean, James, 88 Recycled Culture, 212 n2, 217 n28 death, 114, 120–1, 124, 132, 173, distribution, 12, 27, 85, 101, 141, 143, 196–7, 200 148, 167, 170–2, 182, 183 Deauville Film Festival, 141 documentary style, 100, 103–4, 106, Debord, Guy, 103 148–9 deconstruction, 12, 87 Downtown community, 19–20 Degas, Edgar, 38, 47 Bigelow and, 147 déjà vu, 48, 79, 82, 84 Borden and, 148–9 Dekom, Peter, 137 Buffalo and, 127 Deleuze, Gilles, 15–17, 32, 35, 40, 43, 46–7, 56, 81–2, 87, 109, 124, 130, Cal Arts and, 126 216 n9, 217 n20, n35, 218 n6 Dick and, 224 n10 Demme, Jonathan, 155 geographical area of, 211 n11 Something Wild, 185 Goldin and, 106–15 Stop Making Sense, 155, 164 Longo and, 134–5 Swimming to Cambodia, 155, 164 Mitchell and, 87–100 De Niro, Robert, 161 Nares and, 100–6 Deren, Maya, 19–20, 54–7, 64–7, Poe and, 20, 68, 72, 75–8, 80–2, 85 216 n3 post-1996, 205–10 At Land, 55, 66–7, 218 n3 Sherman and, 197 Meshes of the Afternoon, 54–6, 77 Warhol and, 18, 20, 77–8, 106 Ritual in Transﬁgured Time, 55, drawing, 23, 31, 115, 129, 134 218 n3 Driver, Sara, 144 A Study in Choreography for Camera, Duchamp, Marcel, 74 174–5 Duncan, Isadora, 157 Derrida, Jacques, 12, 126, 144 duration, 13–16, 20, 30, 36, 56, 147, De Sica, Vittorio 169, 173 Bicycle Thieves, 108 durée, 16, 41 Devo, 97 DVD, 171–2

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Edison Company, 19 female speech, 21, 57–61, 63–6, 148, Annabelle, Serpentine Dance, 23, 172, 175, 178 25, 26 female stereotypes, 12, 44 Monkeyshines #1,38 feminine aggressivity, 50, 59, 61, 64, 68 editing, 7, 16, 78, 95, 111, 126, 149, feminism, 11–12, 18, 20, 45, 50–1, 55, 177, 182, 185, 188 57, 148–51, 170, 193, 198, 224 n9 Eggeling, Viking Film Comment, 135 Symphonie Diagonale, 174 film history, 7, 18–19, 87–8, 100, Eisenstein, Sergei, 7, 26, 37, 217 n35 127–9, 171 Eklund, Douglas, 5, 213 n7, 223 n11 “remake” and, 72–3 Empire State Building, 23, 26–31, 28, see also Hollywood movies and specific 169, 186, 209–10 films, filmmakers, genres, and ephemeral, 9, 21, 36, 53, 96, 100, movements 107, 125, 129–30, 161, 164, film loop, 29–32 167–78 film noir, 79–80, 99, 190 Epstein, Jean, 15, 40 film shot, 16–17, 46–8 European art films, 99, 128, 143 filmstrip, 47 see also specific filmmakers and Fisher, Jean, 222 n4 movements Fitzgibbon, Coleen, 212 n27 Evans, Walker, 74–5 Forbidden Planet, 191 Everly Brothers, 37 Ford, John, 76 Evil Dead, 197 formalist approach, 8, 11–12 exhibition, 12, 27, 85, 92, 101–2, Foster, Hal, 3, 12, 120, 212 n22 110–11, 141–4, 167, 170–2, Foucault, Michel, 126, 217 n22 182 found object, 74, 126, 208 Exploding Plastic Inevitable, 93, 102 frame/frame line, 16–17, 34 Akerman and, 56–7 “faceicity,” 37, 40–1 Bigelow and, 146 Factory, The, 27, 31, 36, 77, 93, 102 Borden and, 150 Falk, Peter, 109 Deren and, 54–5, 67 Fassbinder, Rainer Werner, 19, 71, 81, Dick and, 60–7 197 Goldin and, 110, 113, 115 Ali Fear Eats the Soul, 222 n30 Lawler and, 170 The American Soldier, 81, 90, 131–3, Longo and, 130, 132–3 189, 190 Mitchell and, 95–6, 98, 110 Lola, 197 Nares and, 104 “Fatal females,” 194 Poe and, 90–1 female body, 20–1, 218 n1 Schnabel and, 206 Akerman, 20, 56 Sherman and, 42–7, 49, 110 Beckman and, 178 Warhol and, 36–7, 39, 41, 43–5, 51, Borden and, 150 62, 93, 120–1, 156–7 Deren and, 20, 54–5 woman in, 20, 37, 41–5, 54–7, 60–7 Dick and, 20, 54, 59–67 Frampton, Hollis, 10, 57, 120, 125–7 Goldin and, 113 (nostalgia), 129 Lawler and, 178 Frankenstein, 191, 193 Sherman and, 33, 34, 41–3, 44, Franklin Furnace, 22, 160–1 137–8, 196–7 Freud, Sigmund, 63, 195, 197 Warhol and, 33–41, 51 Friday the 13th, 194, 197 female eye or gaze, 107 Fried, Michael, 14, 16, 214 n32 female serial killer, 192–6 Friedberg, Ann, 224 n9

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238 Index

Gable, Clark, 170, 172–3 Goya, Francisco Galindez, Vicent, 76 TheNudeMaja,38 Garbo, Greta, 24, 108–9 Gray, Spalding, 155, 161 Gehr, Ernie, 207 Grease, 145, 147 Serene Velocity, 10, 207 “genius,” 74, 103, 184 Halloween, 194 genre films, 18–19, 72, 81, 106, Hallwalls Contemporary Art Center, 189–91, 198–9 127, 135 see also specific genres Halpin, Brooke, 175 Gibson, William Hammid, Alexander, 54 Johnny Mnemonic, 189–91 Meshes of the Afternoon, 54–5, 77 Gidal, Peter, 217 n21 Hannah, Duncan, 76, 84–5, 85,89 Gilbertson, Leanne, 216 n10 Hannah, Joe, 135 Gillis, Dobie, 90 hard-boiled detective genre, 190–1 Godard, Jean-Luc, 19, 20, 40, 71, 88, Hardcore Punk, 219 n1 105, 126, 128, 141, 219 n2 Harron, Mary Alphaville, 72, 81 American Psycho, 199 Breathless, 4, 48, 72–2, 75–81, 85, Harry, Deborah, 8, 77, 80, 83–4, 210 103, 126, 132, 219 n3 Hawkins, Screamin’ Jay, 111 Contempt, 142 Hawks, Howard, 76 Week End, 219 n11 The Big Sleep, 80, 88, 132, 191 Goldin, Barbara Holly, 107 Scarface, 132 Goldin, Nan, 20, 106–15, 222 n36 Haynes, Todd The Ballad of Sexual Dependency,4, Far from Heaven, 145, 222 n30 106–15, 113 Hayward, Julia (Duka), 225 n4 Siobhan at the A-House, 114 He, Jenny, 213 n3 Goldstein, Jack, 3, 19–23, 29–32, 53, Hearst, Patty, 200 106, 120–5, 129–30, 177, 199, Heymond, Hella, 218 n3 205, 210, 212 n1, n2, 222 n4 high art, 12, 20 Bone China, 122 Hill, Walter A Hill Overlooking a Freeway, 160, Mad Max, 145 165 Streets of Fire, 145 The Jump, 3–4, 19, 22–3, 29–32, 30, historical references, 20, 32, 80–2, 87, 121–3 89, 90, 94–5, 98, 103 The Knife, 122, 124 see also film history; past Metro-Goldwyn-Mayer, 122–4 Hitchcock, Alfred The Pull, 123–4, 131, 202 Rope,96 Shane, 122–4 Psycho, 193–4 The Six-Minute Drown, 122 Spellbound, 182 A Swim Against the Tide, 122 Hoberman, J., 65 Two Fencers, 12–15, 13, 122, 173, Holby, Grethe, 135 214 n26, n30 Hollywood movies, 4–14, 19, 80, 87, Two Wrestling Cats, 122 95, 101–2, 128, 143 Under Water Sea Fantasy, 208 Baldessari and, 126 The Unknown Dimension, 173 Bigelow and, 144–5, 198 White Dove, 122, 124 Bogosian and, 158 Gordon, Bette Cornell and, 24 Variety, 107 Godard and, 72, 75 Gordon, Peter, 135 Goldin and, 107–9 Gordon, Robert, 77, 147, 224 n7 Goldstein and, 31, 124

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Index 239

Lawler and, 168–72, 178 King, Stephen, 163 Longo and, 125, 134–7, 187, 189–91 King Kong, 128 Mitchell and, 99 Kitchen, The, 22, 106 Nares and, 106 Knievel, Evel, 60 Poe and, 79–81 Koch, Stephen, 26, 37, 40–2, “remake” and, 72–4 215 n4, n9, 216 n7, n11, 220 n10 Sherman and, 44–5 Kosuth, Joseph, 101 Warhol and, 10–11, 18, 25, 27, 31, Kral, Ivan, 76, 219 n12 34–6, 44, 77, 183–4 Krauss, Rosalind, 75, 213 n12 see also specific directors and movies Kristeva, Julia, 144 Holzer, Jenny, 171 Kruger, Barbara, 12, 171 home movies, 9, 171 Kubelka, Peter, 25, 130 homosexual themes, 102, 146 Adebar, 175 horror genre, 192–3, 195, 199 Kubrick, Stanley House Un-American Activities The Killing, 199 Committee, 170 2001, 123–4 Howland, Becky, 21–2 Hustler, The, 168 Lacan, Jacques, 12, 144 Huston, John Landow, George The Misfits, 21, 41, 143, 168–74 Institutional Quality, 175 Huyssen, Andreas, 181, 198 Remedial Reading Comprehension, 175 illusionism, 160 Lane, Christina, 149, 224 n8 I Love Lucy (TV show), 67 Langlois, Henri, 127–8 “incorporeality,” 10, 29, 129 Law&Order(TV show), 182 institutional practices, 12, 19, 27, 168, Lawler, Louise, 12, 21, 167–74, 178 171, 173–4 “It’s Not About the Picture,” 168 internal tension, 17–18, 26–9, 120 The Misfits screenings, 21, 143, Italian art films, 98–9 168–72, 169 Italian neorealism, 7, 77, 81–2, 99, 108 Statue before Painting, Perseus, 168 What’s Up Doc? and The Hustler Jacobs, Ken screening, 168 Tom, Tom, the Piper’s Son, 73–5 Léaud, Jean-Pierre, 76, 219 n11 James, David, 225 n2 Lee, Brenda, 147 Jameson, Fredric, 80, 82, 190–1, Lee, Peggy, 210 212 n21 Levine, Sherrie, 74, 212 n1 Janowitz, Tama Liotta, Ray, 185, 187 Slaves of New York, 187 Little Caesar, 79–80 Jay Street Garage, 101 Longo, Robert, 3, 7–8, 13, 18, 20–2, Johnston, Becky, 91–2, 98, 101, 144, 42, 53, 67, 106, 119–20, 124–37, 148, 181 139, 146, 181–92, 199, 205, Jones, Bill T., 135 212 n1, n2 Julius Caesar,89 The American Soldier and the Quiet jump cuts, 78, 105, 126 Schoolboy, 81, 131–3, 189, 202 Arena Brains, 137, 183, 185–8, Kane, Carol, 193 190–1 Karina, Anna, 40, 84 “Bizarre Love Triangle” (New Kiki, 54 Order), 188–9 Kinetoscope, 25, 158 Empire film project, 134–7, 136, 139, King, B.B., 210 185–6, 190

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240 Index

Longo, Robert—continued Mass, Steve, 97, 221 n17 Johnny Mnemonic, 137, 183, 189–92, Matrix, The, 189, 192 226 n24 McDermott, David, 104, 105 Marble Fog, 189–90 McMahon, Paul, 176, 177, 212 n24 Men in the Cities, 133–4, 171, 186, Mead, Taylor, 142, 183 189–90 Megadeth, 137, 183, 188 “The One I Love” (R.E.M.), 188 Mekas, Jonas, 18, 31 “Peace Sells” (Megadeth), 188 Lost, Lost, Lost, 114 Seven Seals for Missouri Breaks,3,4, Movie Journal,33 130–1, 133 Melford, George The Silence, 186 East of Borneo,74 Sound Distance of a Good Man, 22, melodrama, 107, 222 n30 133, 189 memory, 48–9, 84, 99–100, 111–12, Steel Angels, 185 124, 138–9, 170–2, 177, 190–1, long take, 7, 74, 82, 96, 105 206 Lunch, Lydia, 58–9, 63–7, 105, 219 n15 Metro Pictures gallery, 3, 7, 53, 212 n1 Lurie, John, 92 Metropolitan Museum of Art, 5, 168 Men in Orbit, 101 Metz, Christian, 11–12, 15 Michelson, Annette, 10, 26, 81, 96 MacAdam, Elsie, 192 Millennium Film Journal,21 MacAdams, Lewis Millennium Film Workshop, 57, 92 Funhouse, 164 Miller, Arthur Malange, Gerard, 37, 93 The Misﬁts, 41, 170, 172 male body Million Dollar Movie (TV show), 128 Bigelow and, 198–202 Minimalism, 9–11, 14, 20, 25, 29, 58, Bogosian and, 156, 165 60–1, 95, 107, 160 Goldin and, 113 Mitchell, Eric, 20–1, 57, 76–7, 87–101, Longo and, 191–2 89, 103–6, 220 n4, n6, n7, n11 Mitchell and, 89 Kidnapped, 9, 92, 94–8, 101, 110, Nares and, 101 142 Schnabel and, 206 Red Italy, 92, 98–101, 142 Warhol and, 156–8 Underground U.S.A., 92, 141–4, 143 male gaze modernism, 6, 12, 14, 75, 79 Bigelow and, 202 Monroe, Marilyn, 33, 39, 50, 108 Bogosian and, 163–4 The Misﬁts and, 41, 170–3 Sherman and, 12, 20, 44 Warhol silkscreens of, 25, 35–6, 184 Warhol and, 39–40 montage, 7–8, 149, 188 Malick, Terrence Montgomery, Monty Badlands, 48, 72, 88, 145, 147 The Loveless, 144–5 Man with a Movie Camera, 207 Many Loves of Dobie Gillis, The (TV “more mainstream,” 19, 21 show), 90 Mori, Ikue, 59 Marey, Etienne-Jules Morrissey, Paul, 18, 102, 142 Two Fencers, 214 n26 Flesh, 142 Marker, Chris Heat, 18, 142, 184 La Jetée, 91, 112, 190, 220 n5 Lonesome Cowboys, 221 n22 Martha and the Vandellas, 93 Trash, 142, 184 Martin, Dean, 111 “motion pictures,” as term, 6–7, 129 Marx, Karl, 98, 100 Mountbatten, Lord Louis, 221 n19

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Index 241 movement and stasis, 6, 10–11, 13–21 Beckman and, 174 Akerman and, 56–7 Bigelow and, 145, 147, 202 Beckman and, 174–8 Borden and, 148–50 Bigelow and, 199–202, 201 distribution and, 141–4 Cornell and, 23–5 early avant-garde and, 182 Deleuze on, 15–16 Godard and, 72 Deren and, 55, 174–5 Goldin and, 107–8, 112–14 Dick’s and, 64–8 Lawler and, 173 Edison and, 25 Longo and, 129, 131, 135, 185 Goldin and, 107–8, 112, 114 Mitchell and, 96–7 Goldstein and, 29–32, 123 Nares and, 100–1 Longo and, 125, 129–34, 189 Poe and, 78–84, 141 Mitchell and, 95, 97–100 Schnabel and, 207 Nares and, 100–1 Sherman and, 45–8, 114, 194 Poe and, 75, 99–100, 210 Warhol and, 10, 18, 26, 37, 78, 183 Schnabel and, 206–7 Nauman, Bruce, 126 Sherman and, 34, 42–3, 47, 51, Neo-Expressionism, 205 137–8, 197 New Cinema theater, 21, 92, 96, 101–2, theatrical vs. cinematic, 14 106, 220 n7, 221 n15 time and, 13–16 New German Cinema, 81 Warhol, 10, 17–18, 25–9, 34, 36, New Line Cinema, 219 n12 40–1, 51, 56–7, 94, 121 Newman, Paul, 89 women and, 58 New Museum Show, 222 n36 movement potential, 7, 16, 19, 23 New Order, 188–9 movie stars, 24–5, 40 New Wave movie theater, 171–2 Deleuze on, 81–2 (moving) pictures, defining, 6–7, 10, 25 French, 15, 53, 71, 75–6, 80–1, 128, Ms. 45, 194 139, 219 n11 Mudd Club, 97, 111, 160–1, 221 n17 New York, 71 Mueller, Cookie, 114 New York, 209–10, 211 n10 Mulvey, Laura, 39, 41, 44, 49, 113, 202 as “ancient Rome,” 102–4 Museum of Modern Art (MoMA), 112, as “Paris,” 79–81, 84 207, 213 n3 as “Rome,” 98 music, 8, 12–14, 37, 65–6, 76, 78–9, 84, 93–4, 97, 108, 111, 135, 147, Nilsen, Beate, 63 149, 175, 178, 209 1950s remembrance craze, 145, 147 music video, 188–9, 225 n4 nostalgia, 9, 72, 80, 84, 131, 146 Muybridge, Eadweard, 3, 121, 129, No Wave filmmakers, 53, 71, 107 133, 195, 223 n18 No Wave music, 53, 58–9, 62, 71, 78, 97 Nares, James, 20, 88, 91–2, 98, 100–6, 220 n6 O’Grady, Gerald, 21, 120, 125–8, 139 No Japs at My Funeral, 221 n19 Once Upon a Time in the West, 144 Pendulum, 100 One University space, 111 Rome ‘78, 9, 89, 100, 102–6, 104 On the Waterfront, 191 Twister, 100 “originality,” 75–6, 102 Waiting for the Wind, 100–1 “out-of-field” (offscreen space), 16, 37, narrative, 9–10, 14–15, 18–21, 54 40, 43–7, 96, 110, 157–8, 206, Akerman and, 57 217 n20, n21 Baldessari and, 126 Owens, Craig, 160, 170

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242 Index painting, 17, 19, 26, 34, 37–9, 47–8, Alphabet City, 182 55, 93, 108, 113, 120–1, 189 Amos Poe’s Citizen Kane, 73–5, Palmer, John, 31 219 n4 Panofsky, Erwin, 130 Amos Poe’s Empire II, 209–10 Papp, Joseph, 161 The Foreigner, 71, 77, 81, 90–1, 99, parody, 72, 197 141, 149, 187, 202 Pasolini, Pier Paolo, 20, 92, 98, 108–9, Rocket Gibraltar, 182 115 Unmade Beds, 4, 9, 17, 48, 71–2, Accatone, 99, 108 75–84, 85, 88–90, 89, 103, Mamma Roma, 108 219 n3 past, 32, 48–9, 72, 79, 87, 103, 131, Poe, Edgar Allen, 210 146, 149, 158, 171–2, 191 Pollock, Tom, 137 see also film history; historical Pop Art, 214 n36 references portrait painting, 29, 34–6, 51 pastiche, 72, 92, 146 pose, 41, 47–8, 96, 111, 113–14, 146, patriarchy, 50, 57, 59, 64, 150–1, 168, 202 170, 171, 193 postmodernism, 5, 7, 33, 74–5, 80, 82, Penn, Arthur 160, 164–5, 181, 191, 198, Bonnie and Clyde, 199, 200 212 n21, n22 The Missouri Breaks, 130–1 Poststructuralists, 12 perception, 16, 50 present, 16, 32, 40, 47, 72, 94, 103 performance art, 4, 12–14, 21, 34, 111, Presley, Elvis, 25, 89 129–30, 133, 155–64 Price, Richard, 185, 187 see also specific artists Prince, Richard, 212 n1 Phillips, Anya, 62, 63, 77, 95, 98, 104, “privileged moments,” 20 104 production, 10, 12, 21, 85, 134–9, photogenie, 15, 40, 88–9 147–8, 170, 181–4, 187–9 “photographic” impulse, 7 Public Theatre, 161 photographs, 4, 6, 10, 12, 19, 23–5, 29, Punk filmmakers, 20, 53, 71, 107 34, 74–5, 106–15, 123, 125, 167 Punk music, 53, 62, 71, 77–8, 97, “cinematization” of, 41–3, 45–7 219 n1 see also specific artists Punk style, 60, 94–5, 97 Photorealism, 147 “pure” cinema, 9, 128 Picasso, Pablo Girl Before a Mirror,50 Queen Christina, 109 Pictures artists California vs. Buffalo, 120, 125–9 Rafik’s OP Screening Room, 111 definition of, 5–7, 12, 14, 213 n9 Rainer, Yvonne, 58–61 see also specific artists, concepts, and Film about a Woman Who ..., 58, influences 61, 64 Pictures catalogue, 130 “Parts of Some Sextets,” 60–1 “Pictures Generation: 1974–1984, The” Ramones, 71 (show), 5, 223 n13 rape, 40, 106 Pierce, Kimberly Rauschenberg, Robert, 214 n36 Boys Don’t Cry, 199 Ray, Man Place, Pat, 58–9, 61–3, 148 Emak-Bakia, 54, 64 Pleasantville, 145 Reagan, Ronald, 144, 159 Poe, Amos, 8, 20, 21, 68, 71–85, 95, Real Life Magazine, 162 105–6, 141, 181–2, 205, 219 n12, Redmond, Sean, 226 n23 221 n17 Reed, Lou, 93–4

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Reeves, Keanu, 200 Screen Test, 34–6, 35, 62, 206 R.E.M., 137, 183, 185, 188 Vinyl,93 “remakes,” 72–4, 98, 102, 132, 142, semiological approaches, 11–12, 15, 219 n3 213 n7 see also specific filmmakers and films serial photography, 121, 129 Rembrandt, 63 Serra, Richard, 101 Renais, Alain Sex Pistols, 219 n1 Last Year at Marienbad, 65, 138–9 sexual abuse, 66 Toute la Memoire du Monde, 139 see also rape re-photography, 73, 75, 177 sexual identity, 194 replica, 175–6 sexuality, 113–15, 94, 150, 162, 202 representation, return to, 5, 9, 11–14, Shangri-Las, 66 53–4, 72, 85, 107 Sharits, Paul, 120, 125–7, 129–30 reverse shot, 163, 164 Sears Catalogue, 188 Ricard, Rene, 142 T,O,U,C,H,I,N,G,9–10 Richter, Hans Sheen, Martin, 88 Rhythmus 21, 174, 182 Sherman, Cindy, 3, 8, 13, 20–1, 53, Riefenstahl, Leni 106, 124–5, 127–8, 135, 161–2, Olympia, Part Two,32 171, 181, 183–4, 205, 212 n1, n2, Riering, Janelle, 3 213 n5, 217 n17, 218 n38, n41, Rimbaud, Arthur, 71 224 n7 Ringwald, Molly, 197 Doll Clothes, 137–8, 195, 197 Rivette, Jacques “How to Face the Gaze,” 217 n36 L’Amour Fou, 135 A Play of Selves, 137–9, 196 Rossellini, Roberto, 126 Office Killer, 4, 137, 183, 192–8, rotoscoping, 31, 121 198 Russell, Ken Untitled Film Stills, 4, 12, 17, 20, 22, WomeninLove, 133 34, 41–51, 42, 110, 113–14, Ruttman, Walter 168, 171, 218 n39 Opus #1, 174 Shirelles, 37, 67 silent film, early, 18–19, 104, 156–7, sadomasochism, 57, 93–4 174, 222 n30 Salle, David, 8, 181, 183 Silverman, Kaja, 217 n36 Search and Destroy, 183 Sinatra, Frank, 84 Satterfield, Jean, 149 Sirk, Douglas, 20, 115, 222 n30 Schnabel, Julian, 8, 21, 181, 183–4 All that Heaven Allows, 222 n30 Basquiat, 205 Imitation of Life, 222 n30 Before Night Falls, 183, 205 Sitney, P. Adams, 11, 58–9, 73, 215 n5 The Diving Bell and the Butterfly,4, 16mm format, 9, 26, 29, 31, 34, 37, 78, 183, 205–7 85, 94, 142, 148 science-fiction genre, 191, 199 slide shows, 20, 107–11, 222 n34, n36 Scorsese, Martin, 183 slow motion, 26, 29, 35, 55, 133 The Color of Money, 185 Smith, Harry, 6 Taxi Driver, 161 Smith, Jack, 108 Scream, 197 Flaming Creatures, 103 sculpture, 81, 129–32, 134 I Danced with a Penguin, 222 n34 Sedgwick, Edie, 20, 54, 216 n13, n15 Smith, Patti, 8, 71, 76, 210 Beauty #2, 216 n10 Snow, Michael, 10, 57 Poor Little Rich Girl, 37–41, 44, Wavelength, 10, 77, 96–7, 207 50–1, 62 “social gest,” 56, 61, 67, 218 n6

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244 Index

Soho Weekly News, 101 Cornell and, 23–5 Sontag, Susan, 14, 103, 157, 191, Deleuze on, 15–16 214 n30 Deren and, 55 sound, 37, 59–60, 64–6, 78, 97, 100, Dick and, 59–60, 65, 67–8 122, 129, 171–5, 177–8, 193, 209 dislocation of, 81, 98–100, 141, space, 17, 81–2, 138–9, 177–8 146–8 Stalker film, 4, 192, 194, 196–7 Edison and, 55 Star Wars,72 Godard and, 81 Stein, Jean, 216 n13 Goldin and, 107–8, 111–12, 114 Sternberg, Josef von Goldstein and, 14, 29–32, 123 The Blue Angela, 142 Longo and, 130–1 Morocco, 109 Mitchell and, 89, 98–100 Sternberg, Josef von, 40 Poe and, 72, 75, 80–2, 84, 98–100, Sterritt, David, 215 n7 209–10 Stipe, Michael, 185, 187 Schnabel and, 207 St. Marks Cinema, 21, 141–2 Sherman and, 42–3, 47, 49, 137–8 Stone, Oliver space and, 17, 82, 130, 138 Talk Radio, 21, 155, 158–9, 165 Warhol and, 7, 10, 16–17, 25–9, 36, Structural film, 5, 9–11, 29, 57, 58, 73, 40–1, 56, 158 95, 108, 125, 129, 174, 207 time lapse photography, 209 Sublette, Ned, 135 Times Square Show, The, 220 n6 Sukowa, Barbara, 197 transformative strategies, 14–15, 19 Super 8, 9, 22, 53, 57, 59–60, 63, 66, see also specific artists 73, 78, 92, 94–6, 98, 103, 105, trauma, 120, 194 175 Tripplehorn, Jeanne, 197 “Superstars,” 7, 31, 34, 40, 77, 91, 142 Truffaut, Francois, 71, 128 Surrealism, 24, 54, 65, 139, 176, 182, The 400 Blows, 76, 219 n11 214 n36 Tschumi, Bernard, 133 Swan, Paul, 156–8, 165 Tyler, Parker, 54 sword and sandal genre, 102–3

Taubin, Amy, 221 n15 uncanny, 24, 194–5, 197 Tavel, Ronald, 78, 220 n10 Union City, 144 Taylor, Elizabeth, 25 Technicolor, 142, 145 Vachon, Christine, 192 Teenage Jesus and the Jerks, 58–9, 71, Valenti, Chi Chi, 211 n4 97 Velazquez, Diego television, 71, 128, 131 Las Meninas, 43–4, 110, 217 n22 terrorism, 200, 221 n19, 224 n9 Three Men at a Table 217 n21 Terror Train, 194 Velvet Underground, 93–4 theater, 14, 16, 21, 93, 97, 214 n30 Venice Film Festival, 209 Thing from Another World, The, 191 Vietnam War, 82, 131, 172–3 time, 6–7, 13–17 Village Voice, 76, 101 Akerman and, 56–7 violence, 40, 57, 93–8, 106, 112–13, Antonioni and, 16 115, 121, 144, 162–3, 183, 197–9, Beckman and, 177, 178 201–2, 221 n19, 224 n9 Bigelow and, 146–7, 202 Viva, 106, 183 Bogosian, 162 voice-overs, 58, 79–80, 82–3, 99–100, Borden and, 148 129, 148 cinematic vs. theatrical, 14, 16 voyeurism, 38, 44, 49, 61, 164, 170

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Walker Art Center, 207 Welles, Orson Wallach, Eli, 172 Citizen Kane, 73–4 Wallis, Brian, 213 n5 Welling, James, 212 n1 war film genre, 199 Wertmuller, Lina, 98 Warhol, Andy, 3, 5, 7–8, 10–11, 15–21, Swept Away,98 25–46, 48, 50–1, 56–7, 59–60, 71, Western genre, 102–3, 123, 170, 77–8, 84, 87–8, 105, 108, 110, 172–3, 183, 202 133, 137, 142, 175, 187, 213 n5, Revisionist, 130–1 214 n36, 215 n5, 216 n7, n15, What’s Up Doc? (cartoon short), 168 217 n16 White Columns, 158, 160 Amos Poe’s Empire II “remake” of, Whitney Museum, 208 209–10 Wild Bunch, The, 202 Beauty #2, 11, 216 n10, n11 Wilder, Billy Blow Job, 26, 217 n21 Sunset Boulevard, 18, 142 The Chelsea Girls, 135 Wild One, The, 144, 146 Disaster series, 120–1 Williams, Linda, 226 n23 Empire, 17, 19, 23, 26–31, 28, 41, Williams, Lucinda, 210 169, 209–10, 215 n4, n7, n8, n9 Winer, Helene, 3 Gold Marilyn,35 Wittig, Monique Harlot, 217 n21 Les Guerilleres, 53, 59 Heat,18 Wojnaraowicz, David, 212 n27 women Kitchen, 78, 96–7 as artists, 18–19, 21, 44–5, 107 Lonesome Cowboys, 18, 102–3, 106, as filmmakers, 55, 57, 144, 148, 183–4, 190, 215 n8, 221 n22 198–200 Mitchell’s Kidnapped and, 92, 94–8 genre and, 107, 199 My Hustler,17 representation of, 12, 39, 51, 57–8 Orange Disaster #5, 120–1 see also female body; female speech; Paul Swan, 21, 155–8, 163, 165 feminism; frame/frame line, Poor Little Rich Girl, 20, 33–4, Women in the City show; and 37–41, 44–5, 50, 54, 62, 96, specific artists and filmmakers 215 n8 Women in the City show, 171 POPism,33 Wooster Group, 147 Screen Tests, 17, 20, 33–7, 35, 43, 51, World Trade Center, 79, 149, 186, 54, 59, 62–4, 122, 206 212 n11 Sleep, 18, 26 World War II, 81, 82 Suicide, 121–3 Vinyl, 17–18, 78, 92–8, 220 n10, n11 X Movie Magazine, 101, 220 n6 Wein, Chuck, 37, 41 Weinstein, Bob and Harvey, 149 Young, Sean, 185