From: Paris Experimental (email suppressed)
Date: Sun Jan 15 2006 - 13:53:39 PST
ANDY WARHOL : THE CINEMA AS "MENTAL BRAILLE"
By Patrick DE HAAS
translated by Sally Shafto
"If Andy Warhol is someone who earned much more than fifteen minutes of
celebrity, certain aspects of his work, particularly his cinema, remain
little known. Warhol's films howaver profoundly shook a certain type of
knowledge and behavior with regard to the cinema. Their innovative and
radical elements (static shots of long duration, "real time", the crude
representation of sex,...) can only be understood if they are approached in
relating them to the general attitude whixh generated the artist'overall
activitiés : his painting as well as his films. In this way, questions of
dandysm, of the affiramation of indifference, of an attraction for the
surface, of a voyeurist urge, provide certain "keys" allowing for an
analysis of greater precision regarding the rapport with the star, the
fascination with Hollywood, the idiosyncratic editing, and the strange
rapprt between the machine and language.
Painting and cinema are thus studied here in their commun intellectual
context. And the historical position of Warhol's films is illuminated by
relating them to the films and ideas of Duchamp, Man Ray, Picabia, Léger"
PATRICK DE HAAS teaches the History of Art at Paris 1 University. He is the
author of "Cinéma intégral. De la peinture au cinéma dans les années vingt"
(Paris, Transédition, 1985), and the co-editor of "Man Ray directeur du
mauvais movies" (Centre G. Pompidou, 1997).
Cahier de Paris Expérimental n° 21
64 p., 28 ill. 12 EUROS
Isbn : 2-912539-28-5
EDITIONS PARIS EXPERIMENTAL
International distribution :
PARIS MUSEES (email suppressed)
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.