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"Our Kind of Movie": The Films of Andy Warhol

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"Our Kind of Movie": The Films of Andy Warhol Cover

 

Synopses & Reviews

Publisher Comments:

andlt;Pandgt;andquot;We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'andquot;--Andy Warholandlt;/Pandgt;andlt;Pandgt;Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as andlt;Iandgt;Screen Testsandlt;/Iandgt;. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With andlt;Iandgt; andquot;Our Kind of Movieandquot;andlt;/Iandgt; Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years--and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including andlt;Iandgt;Blow Job, Screen Test No. 2andlt;/Iandgt;, and Warhol's cinematic masterpiece andlt;Iandgt;The Chelsea Girlsandlt;/Iandgt; (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise--films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinéma-vérité documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In andlt;Iandgt; andquot;Our Kind of Movieandquot;andlt;/Iandgt; Crimp shows how Warhol's films allow us to see against the grain--to see differently and to see a different world, a world of difference.andlt;/Pandgt;

Synopsis:

"We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'"--Andy Warhol

Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With "Our Kind of Movie" Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years--and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise--films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinéma-vérité documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In "Our Kind of Movie" Crimp shows how Warhol's films allow us to see against the grain--to see differently and to see a different world, a world of difference.

About the Author

Douglas Crimp is Fanny Knapp Allen Professor of Art History at the University of Rochester. He is the author of On the Museum's Ruins and Melancholia and Moralism: Essays on AIDS and Queer Politics, both published by the MIT Press.

Product Details

ISBN:
9780262017299
Author:
Crimp, Douglas
Publisher:
MIT Press (MA)
Author:
Crimp, Douglas
Author:
Imp
Author:
Douglas Cr
Location:
Cambridge
Subject:
Biography-Artists Architects and Photographers
Series:
"Our Kind of Movie"
Publication Date:
20120331
Binding:
HARDCOVER
Grade Level:
from 17
Language:
English
Illustrations:
7 color illus., 45 b, &, w illus.
Pages:
192
Dimensions:
9 x 6 in

Related Subjects

Arts and Entertainment » Art » Artists
Arts and Entertainment » Art » Film and Video
Arts and Entertainment » Art » General
Arts and Entertainment » Art » Individual Artists » Monographs
Biography » Artists, Architects, and Photographers

"Our Kind of Movie": The Films of Andy Warhol New Hardcover
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Product details 192 pages MIT Press (MA) - English 9780262017299 Reviews:
"Synopsis" by , "We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'"--Andy Warhol

Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With "Our Kind of Movie" Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years--and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise--films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinéma-vérité documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In "Our Kind of Movie" Crimp shows how Warhol's films allow us to see against the grain--to see differently and to see a different world, a world of difference.

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