By Douglas Crimp
“We didn’t consider our video clips as underground or advertisement or artwork or porn; they have been a bit of all of these, yet finally they have been simply ‘our type of movie." Andy Warhol
Andy Warhol used to be a remarkably prolific filmmaker, growing greater than a hundred videos and approximately 500 of the movie pics often called display exams. And but rather little has been written approximately this physique of labor. Warhol withdrew his movies from movement within the early Seventies and it was once purely after his dying in 1987 that they started to be restored and proven back. With “Our type of Movie” Douglas Crimp bargains the 1st single-authored e-book in regards to the complete variety of Andy Warhol’s motion pictures in 40 years--and the 1st because the movies have been placed again into circulation.
In six essays, Crimp examines person movies, together with Blow activity, display attempt No. 2, and Warhol’s cinematic masterpiece The Chelsea women (perhaps the main commercially winning avant-garde movie of all time), in addition to teams of flicks similar thematically or otherwise--films of seductions in restricted areas, movies with eventualities through Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol’s motion pictures make seen new, queer different types of sociality.
Crimp doesn't view those motion pictures as cinéma-vérité files of Warhol’s milieu, or as camera-abetted voyeurism, yet fairly as exemplifying Warhol’s artistic cinema suggestions, his collaborative operating tools, and his superstars’ distinctive functions. hence, if Warhol makes seen new social family, Crimp writes, that visibility is inextricable from his creating a new type of cinema. In “Our type of Movie” Crimp exhibits how Warhol’s motion pictures let us see opposed to the grain--to see otherwise and to determine a distinct international, a global of distinction.
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Extra resources for Our Kind Of Movie: The Films of Andy Warhol
ROHMER: Of course. But all the same, we’re talking about a study of significations that more or less makes an abstraction of our more direct approach in Bazin’s time: the cinema as an instrument of discovery. Now, what we contributed to critical discourse in the 1950s was a profound connection with Nature, the discovery of natural objects whose beauty was revealed by the cinema. This is no longer your point of view, I understand. CAHIERS: Your will to refer constantly to the ‘outside’ of the film - the ‘world’, existing before and after it - as a concrete reality, isn’t this, finally, something entirely different from a search for what’s ‘natural’?
So I shot it in 35mm. The same with Ma nuit chez Maud: I tried to see if we could do it with amateurs but I renounced the idea of finding people capable of filling the roles. With the next film, I’m going to shoot it ‘professionally’. But with the sixth ‘Moral Tale,’ it is very possible that, all of a sudden, I could find it more interesting to do it in 16mm with amateurs. I don’t feel constrained by success, and, after the ‘Moral Tales’, I have no idea what I’m going to do. I don’t even consider myself to be a filmmaker by trade.
They were guided by the real paths that they had to follow. CAHIERS: We come back to the idea of the pre-existing real as guarantor, not as object. We agree with you that this ‘filmic place’ could not have existed if there hadn’t been this place that was filmed. But this doesn’t rule out the fact that the filmic place created by the unfurling of the scene totally substitutes itself for the filmed place. ROHMER: I have difficulty following you there. On the contrary, I felt the presence of the filmed place (artificial in this case, natural in other cases) very strongly, to the extent that its topography was the only thing dictating where I placed my camera.