The Critical Response to Andy Warhol

By Alan R. Pratt | Go to book overview
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2.
These three periods, incidentally, recapitulate the history of filmmaking in general as the films progress from unscripted, silent black and white shorts to elaborate, full-length commercial features, and Warhol himself moves from photographer, to director, to producer ( Arthur149).
3.
Warhol insisted that many of the films be projected at 16 frames-per-second, resulting in a barely perceptible slow motion ( Mussman154).
4.
David James identifies a threefold process in Warhol's appropriation of the Hollywood experience. They include 1) a selective use of names, roles and gestures from Hollywood's golden age, 2) deliberately crude generic imitations, and 3) remakes of specific films (141).
5.
Tony Rayns specifically addresses the Morrissey/ Warhol relationship in his essay, "Death at Work"; and though he does not answer the question of why the two " collaborated," his profile of Morrissey and his films illuminates the sharp differences between Warhol and his assistant.

WORKS CITED

Arthur Paul. "Flesh of Absence" in Andy Warhol: Film Factory. Ed. Michael O'Pray. London: British Film Institute, 1989, 146-153.

Battcock Gregory. "Four Films by Andy Warhol" in The New American Cinema. Ed. Gregory Battcock. E. P. Dutton, 1967, 233-252.

Berg Gretchen. "Nothing to Lose: An Interview with Andy Warhol". Cahiers du Cinema in English, no. 10, 1967. Rpt. in Andy Warhol: Film Factory. Ed. Michael O'Pray. London: British Film Institute, 1989, 54-61.

Bragin John. "The Work of Bruce Baillie" in The New American Cinema. Ed. Gregory Battcock . New York: E. P. Dutton, 1967, 226-232.

Bourdon David. "Warhol as Film Maker". Art in America ( May-June 1971): 48-53.

Colacello Bob. Holy Terror. New York: Harper Perennial, 1990.

Crone Rainer. "Form and Ideology: Warhol's Techniques from Blotted Line to Film" in The Work, of Andy Warhol. Ed. Gary Garrels. Seattle: Bay Press, 1989, 70-92.

Dick Vivienne. "Warhol: Won't Wrinkle Ever" in Andy Warhol: Film Factory. Ed. Michael O'Pray. London: British Film Institute 1989, 154-159.

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