Reading Response 4

1. Briefly respond to Joe Jones' "Smoking."

Smoking is another super slow motion film in the fluxfilms catalog. Like "Disappearing Music For Face," the frame doesnt quite get all of the image inside, and so the actual lighting of the match, which would be the most interesting aspect of it for me, is lost. The flame burning itself out looks pretty cool. I was a pyro as a child and I appreciated the slow motion flame as much as anyone can haha.

2. Look up “Fluxus” and any of the Fluxus artists in the index of Visionary Film. Why are they not there? Are the Fluxfilms compatible with Sitney’s central argument about the American avant-garde?

Perhaps Sitney doesn't consider the fluxus movement because they don't adhere to any of his six "types" of avant-garde films, and were actually created in opposition to them.

Mary Jordan, Jack Smith and the Destruction of Atlantis

3. Chapter 4. What are some of the reasons suggested for Smith’s obsession with Maria Montez? What are some of your responses to the clips from the Montez films (especially Cobra Woman)?

Jack Smith was known to find people in the streets, bring them to his studio, and turn them into his "creations." Maria Montez was his favorite, perhaps because she was so "beautiful," and became a successful actoress.

4. Chapter 5. What were some attributes of the New York art community in the 1960s, and what was the relationship between the economics of the time and the materials that Smith incorporated in to his work and films? [How could Smith survive and make art if he was so poor in the city so big they named it twice?]

The artists in New york in the 60s were all about revolutionizing their ways of life, centered around the spiritual aspect of love and lovemaking. One commentor in the DVD said that the films Jack made weren't fictions but rather documentaries on their lives. They rebuilt their realities according to the ideal ways they wanted to live. This is why Jack Smith and some of his colleagues were so poor, they resented materialism, capitalism, and commodity-ism. Whatever Jack had was given to him by people who pitied him. This is part of the reason why he resented Andy Warhol, because he was so rich and benefitted from it.

5. Chapter 6. What problems emerged after the obscenity charges against Flaming Creatures in the relationship between Jack Smith and Jonas Mekas? What metaphor emerged from the conflict between Smith and Mekas?

People called the film pornographic. Jonas Mekas took the film and toured with it nationally and by doing so he inadvertently fanned the flames of its controversy. He also took most of the money the film made and didn't give it to Smith or the other people who helped make the film.

6. Chapter 7. What is John Zorn’s argument about Normal Love? How does his argument relate to some of the changes in the New York art world in the 1960s that we discussed in class? What are some arguments made about the influence of Jack Smith on other filmmakers (including Warhol)?

Zorn says that normal love is a documentary on the realities Jack Smith and his friends created for themselves, which discluded materialism and wealth, and involved forming every aspect of their lives into art. This relates to how artists of the 60s endeavored to make art as a way of life rather than as a means to make money or to produce commodities. Some say that almost every rock music video is influenced by Jack Smith, and Warhol took many of Smith's ideas.

7. Chapter 9 and 10: In what ways did Jack Smith become “uncommercial film personified”? What is meant by the slogan, “no more masterpieces” and how did Smith resist commodification (or the production of art products)?

Jack Smith refused to take money for his films or plays. His plays didn't start until 2 or 3 in the morning, which to him weeded out all the people who weren't hardcore for the art. Smith also wanted to abolish masterpieces and art museums because he felt that they only served to influence other artists and therefore limit the range of artistic expression across the board that could be possible if the museums didn't exist.

Here are some helpful links for those interested in the debate about the Jack Smith estate. This is not required, but this is fascinating, frustrating, and crazy (and it will put the documentary in a new light):

http://www.hi-beam.net/fw/fw25/0459.html
http://www.hi-beam.net/fw/fw25/0050.html
http://www.hi-beam.net/fw/fw25/0459.html

And a summary of the debate and legal proceedings. http://www.villagevoice.com/2004-03-02/news/flaming-intrigue/


Callie Angell, “Andy Warhol, Filmmaker”

[I have emailed part one of this article to the class, it is not on reserve.]

8. How does Angell characterize the first major period of Warhol’s filmmaking career? What are some of the films from this period, and what formal qualities did they share? What are some significant differences between Sleep and Empire?

Warhol's early films were linked to the avant-garde, while his later films were more commercial. They often were a single roll of unedited material composed with a tripod-mounted unmoving camera. They sought to reveal personality.

9. What role did the Screen Tests play in the routines at the Factory and in Warhol’s filmmaking?

The 500 or so Screen Tests served as a guestbook of sorts for the various artists who came to see Warhol throughout 66-68. Warhol also learned how to compose, frame, and light his subjects.

10. How does Angell characterize the first period of sound films in Warhol’s filmmaking career? Who was Warhol’s key collaborator for the early sound films? What are some of the films from this period and what formal properties did they share?

Warhol realized that with the introduction of sound recording technologies, he would "need a lot of dialogue." His primary first collaborator was Eddie Sedgewick, a "poor little rich girl." She was found in one of his Screen Tests. One interesting experiment Warhol conducted with his films was in Vinyl, when he purposefully prevented his actors from learning their lines in favor of hold cue cards for them at the time of filming in order to lend to the piece a certain awkward, stilted feeling.