It’s not fair, the journalist reminds us, to pick apart and censure his headlines; the reporting is his work, but the boldface entrée is not. Case in point: Randy Kennedy’s informative dispatch on the state of the Andy Warhol film collection in last Thursday’s New York Times was saddled with a most unfortunate headline: “Digitizing Warhol’s Film Trove to Save It”—a premise that’s both wrong and not quite argued in the piece itself.
The gist of the article is simple enough: the archive of Andy Warhol’s prolific, prodigious film work—owned by the Warhol Museum, but stored and conserved at the Museum of Modern Art—has finally been slated for digitization. The scope of the collection is daunting; per the Times, only a tenth of Warhol’s surviving film work is available through MoMA in circulating 16mm prints. And even those can scarcely be said to be available because “[f]ewer and fewer people have the ability to show 16 millimeter,” according to Warhol Museum deputy director Patrick Moore. “I think the art world in particular, and hopefully the culture as a whole, will come to feel the way we do,” Moore adds, “which is that the films are every bit as significant and revolutionary as Warhol’s paintings.” Continue reading
When Portrait of Jason opened in 1967, there were no LGBT film festivals. Major newspapers and respectable citizens referred to gays and lesbians in appallingly derogatory language. Civil rights pioneer Bayard Rustin had been shunted to the sidelines by Adam Clayton Powell, for fear that this homosexuality would undermine the movement. To be black and gay meant a life on the margin of the margins.
And here was Jason Holliday talking for nearly two hours about his brave, bawdy life before the camera.
There was some precedent for Portrait of Jason in Andy Warhol’s flurry of talkies, particularly the Ron Tavel-scripted Fire Island gabfest My Hustler. Warhol also made film portraits of uncomfortable intensity—Edie Sedgwick going about her daily business in The Poor Little Rich Girl, for example.
The debt to Warhol is economic and logistical, not just aesthetic. The unprecedented mainstream interest in Warhol’s The Chelsea Girls strained the passive distribution capacity of the Film-Makers’ Cooperative, which booked mostly college showings and underground establishments. To break into first-run theaters coast-to-coast, Jonas Mekas, Shirley Clarke, and Louis Brigante created the more commercially-minded Film-Makers Distribution Center. Portrait of Jason would be handled by the new FMDC, a potential cross-over hit in an era when Hollywood had largely missed recent upheavals in American taste. Holliday even cut a comedy LP. Continue reading
The Director as Commodity
I couldn’t help chuckling over a poster glimpsed in the Cinemark lobby recently—an advertisement that boasted that only RealD’s 3D system allowed the audience to see the movie exactly “as the director intended.”
You probably don’t need a stereoscopic slogan to recognize that director is routinely and reflexively held up as a film’s author, its artist, and its true voice. Between director’s commentaries and director’s cuts, the fledging auteurism of the ’60s has become commodified and thoroughly unremarkable. Indeed, we’re so inured to the director cult that we often neglect to examine some of the critical assumptions that underpin auteurism. Continue reading
“Film is Dead,” proclaimed one Logan Square art gallery last February, referring not only to the imminent end of film manufacture, but more broadly to moment when ‘film’ lost its currency and accuracy as short-hand for a diverse range of artistic activities. If everybody’s shooting on video/digital/data, then why persist in applying the genteel label of film to anything with the slightest genetic relation to sprocket-and-emulsion-based celluloid?
It’s an important question, albeit one that might be posed a bit less antagonistically. After all, film gains about as much from being associated with gallery installations as video artists do from being confused for 16mm cinematographers. Greater medium specificity and more precise vocabulary ultimately help everybody. Continue reading
Since avant-garde movies first attracted a substantial audience in America under the auspices of indecency and subversion of established ideas about politics, art, society, and especially sexuality, many don’t expect that such films can also be exceedingly gentle, even reverential towards their subjects. Continue reading