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Andy warhol's Film Creation

Blow Job (1963)

Sleep (1963)

It takes more than six hours to film a man's sleeping state.

Kiss (1963-1964)

This is a series of short films shot from August 1963 to the end of 1964, in which the actors kiss for three minutes. It is a subversion and mockery of the Hays Office Regulation, an American film production law, which prohibits lip contact between actors for more than three seconds. At the same time, andy warhol made a screen print (The Kiss) also called "The Kiss", using the classic lens of Sir Dracula kissing Mina Huck's neck in the horror film "Dracula" (1931).

Empire (1964)

Eight hours long, shooting the changes of the Empire State Building in New York from dark to early morning with a single fixed lens, and then splicing the negative piece by piece.

Harlot (1965)

it is the first time that andy warhol used voice in a movie, but it is very rough.

My Little White Face (1965)

The film is about 65 minutes long and consists of two parts. The plot of the film is quite simple, like a story without a story. The first part was shot in a holiday cabin facing the sea. The owner of the cabin, Ed, took his bodyguard, servant Collie, and his newly kept gigolo Paul to the seaside for a holiday. Paul was sunbathing on the beach alone, while Ed was watching him on the terrace of the cabin. Later, Ed's neighbor, Genevieve, a rich young girl, and Joe, another middle-aged gay man, joined him, and the three of them began to endlessly discuss Paul's bodybuilding and how to seduce him and even sleep with him. The first part finally, Genevieve tried to tease Paul on the beach, put on sunscreen for him, and they went swimming in the sea together. This part consists of three long shots which are about 16 minutes, 4 minutes and 12.5 minutes respectively. The camera is set up between the hut and the beach, so that the lens can move back and forth between them, and different scenes such as near, middle and far are completed with telescopic lenses. The second part only has a fixed long shot of about 32 minutes, which was shot in the bathroom in Ed's bedroom. Joe taught Paul how to behave and how to please his employer, that's all.

My Little White Face is essentially a modern drama. The endless dialogue revolves around sex and teasing, reflecting the emptiness and boredom of the leisure class life.

none of these movies contain sound tracks. Silent, anti-narrative, long screening time and extreme orientation make it impossible for them to be shown in ordinary cinemas. For Warhol, film is like an extension of graphic creation, and film is another carrier besides canvas and paper. Silk printing, photography and film are all just a part of Warhol's overall creation. It is consistent with a series of creative ideas of Marilyn Monroe's head to shoot the subject continuously for a long time with a fixed head. Later, Warhol extracted the images of Oral Sex, Sleeping, Kissing and Empire State Building to make screen prints, and recycled his works with different media.

Warhol didn't pay much attention to sound processing until the cooperative relationship with Chuck Wein and Paul Morrissey was established. After the mid-196s, the importance of Chuck Vinmolise in the "factory" gradually increased. In particular, Molise's interest in Hollywood movies made the factory movies logical. If oral sex, Sleeping, Kissing and Empire State Building are the film creations of a graphic and plastic artist, Chuck Wenmolise is involved in the film creation of the factory as a filmmaker. Since then, although the theme of Warhol's films is still avant-garde, it gradually narrows the distance with the audience, no longer challenges the limit of the audience's endurance, and even adds narrative elements to the film and a sense of humor to the dialogue. According to Adriano Apra, an Italian film critic, it was Chuck Wen and Molise who made andy warhol deviate from his own experimental orientation.

Warhol's films are mostly 16-centimeter black-and-white film, and the particles in the images are obvious. If a camera such as a rocking mirror moves, it will inevitably shake unexpectedly, and the telescopic lens often goes out of focus. Warhol's films have a taste of family films and amateur films because of the rapid production and poor technology. This rough texture enhances the characteristics of the record. In fact, Warhol's Auricon 16 cm camera was the model that journalists loved at that time. It was light, could receive the radio synchronously, and could shoot for a long time. This Auricon camera was purchased by Wo He in the preparatory period of Empire, and it was at that time that he took a fancy to the long-term shooting function of this machine.

In Warhol's films, such as My Pretty Boy, the documentary makes the audience closer to the events in the film, and with the use of long shots, each shot is a real time synchronized with reality. Take the first part of My Pretty Boy as an example. When the cameraman was facing Ed, Genevieve and Joe for a long time, the audience seemed to watch their conversation closely. When the camera suddenly turned to Paul on the beach, the conversation between Ed, Genevieve and Joe continued in the form of voice-over, and the audience immediately became peers who watched Paul with them.

In the awarding speech of the 6th Independent Film Awards in p>1966, his films were described as follows:

"andy warhol brought the film back to its source and the Lumiere era, and he updated and purified the film. In his works, he gave up the extravagance in form and content, and his lens focused on the simplest image with the simplest attitude. The artist's intuition is his only guide. He records people's daily life and what he sees around him with a paranoid attitude. Strange feelings began to emerge through his films. The world has changed its tonality; It becomes strong and tense. The world we see is clearer than before, but it is not in a highly dramatic state, nor is it for any other purpose. It is only a simple and minimal element, such as eating is eating, sleeping is sleeping ... "

The Chelsea Girls (1966)

This film has been a success in business and film reviews, and it has been shown in more than 1 theaters in the United States.

Since most of the paragraphs were shot at Chelsea Hotel in new york, the original name of Chelsea Girl is Chelsea Hotel. The film consists of twelve 3-minute short films, the content of which is only a fragment of ordinary daily life. On the surface, it looks like a documentary, but in fact, the actors improvise according to Warhol's concept.

The film adopts split screen, that is, two groups (or more) of images are juxtaposed and shown at the same time. For example, the first and second short films in Chelsea Girl are combined into one group, with the first short film being shown on the right and the second on the left. There is only one audio track in the film, which is made up of two pieces of dialogue interlaced. This form makes two simple life scenes undergo chemical changes, which are both in contrast to each other like a mirror and integrated into an inseparable whole from time to time. The form of split images was quite avant-garde at that time.

The success of Chelsea Girl directly or indirectly inspired other American films to use split images, such as Richard Fleisher's The Boston Strangler(1968), Brian De Palma's Blow Out(1981) and Mike Figgis's Time Code(2).

Compared with many Warhol avant-garde films, Chelsea Girl is a meditative work, although its form is dazzling. Warhol juxtaposes the sad, joyful, indifferent, flashy and confused sentient beings and collages a portrait of modern people. At that time, Newsweek called it "Iliad of the underground".

I, A Man (I, A Man, 1967)

Warhol's first exposure to heterosexuality is composed of eight short stories, each of which is actually a sexual adventure between the same man (played by 〔Tom Baker〕) and eight women, but his sexual adventure is always interfered by foreign affairs or ends in vain. For example, in the first short story, Tom and the woman played by Cynthia May only met for the first time the night before. After getting up in the morning, Tom made love to Cynthia again, and Cynthia repeatedly refused on the pretext that her parents would suddenly come into the room or the maid would come to clean up, so they had to rush under the bed. In the second short story, the woman played by Tom and Stephanie Graves is on the top floor of a building. When she is in rags, she tells him that she is a woman who is kept in captivity, and her apartment is the love nest for her and her lover to meet twice a week. In the third short story, Tom and Ingrid Posta chatted at the table. At first, Tom laughed at Ingrid's baby fat and clamored to see her breasts. Ingrid showed Tom her breasts, and Tom tried to caress her. In order to sleep with Ingrid, Tom lied to her that he could be psychic. He told her to lie on the table and perform an evocation ceremony. As a result, Ingrid talked about her architect boyfriend in a semi-hypnotic state.

On the surface, Me, a Man is a series of sex comedies, which describe a man who is always caught in the fishy smell, or he has to give in to an absurd situation to achieve his goal. Tom baker's role, andy warhol originally liked jim morrison, the lead singer of The Doors, but because Morrison's agent objected, Morrison's good friend tom baker was enabled.

In Me, A Man, Warhol adopted the technology of Strobe Cut, that is, the camera must be turned off and turned on quickly during the shooting process, so that the image and sound will be broken, while the actor's performance will not be interrupted. This technology has to be performed on a machine that can receive the radio at the same time. Between the quick switches, the machine will make a short beep and the image will be exposed briefly. Therefore, at some critical moments in Me, A Man, the audience only saw the key points quickly, which was accompanied by a series of flashes and beeps, just like the film was sheared by the censorship bureau, which made the audience feel frustrated in vain.

Like Warhol's consistent creative concept, "I, A Man" is a fragment reappearance of a series of life scenes. The film does not provide the cause and effect of events and the background of the characters, and people are just symbols of rootlessness and homelessness. Behind these interesting life scenes, we can see the emptiness and futility of people and the helplessness that people can't change the status quo.

interestingly, the seventh girl in the film is Valerie Solanas who shot Warhol on June 3, 1968. Like her role in Me, A Man, Solanas is a feminist. The first time she went to the factory, she sought shooting opportunities for her own scripts. This script named Up Your Ass is so avant-garde and bold that even andy warhol, who has always been bold, got a fright. He thought Solanas was an undercover sent by the police to lure him into committing the crime of vice. At first, Solanas thought that Warhol would adopt her script. However, when the script was lost in the factory for no reason, Warhol became the object of Solanas' entanglement and planted the seeds for her to shoot Warhol in the future. She began to ask him for money and asked him to pay her rent at the Chelsea hotel, so Warhol made Solanas a guest star in "I, A Man" for twenty-five dollars.

At the time of Solanas shooting, andy warhol was busy editing the film Lonely Cowboys, and the bullet entered his chest at close range, which was almost fatal. The feminist work S.C.U.M Manifesto (Society for Cutting Up Man) published by Solanas after her imprisonment once made her a symbol of the feminist basic doctrine school. Mary Harron, a Canadian female directors, put the shooting of Warhol by Solanas on the big screen in 1996, titled I Shot Andy Warhol.

Lonely Cowboy is a 19-minute color film directed by andy warhol and Paul Molise, starring Molise's favorite actor Joe Dallesandro and factory superstar Viva. Lonely Cowboy is a story about a group of gay cowboys living in a remote town with only one woman. The film was shot in Tuscon, Arizona, adjacent to some locations where John Wayne starred in westerns. Lonely Cowboy is one of Warhol's most explosive films, which attracted the attention of the FBI during the filming period, and the scene of Viva being raped by the group in the film is even more controversial. In November 1968, Lonely Cowboy won the first prize at the San Francisco Film Festival. As a gay base camp on the west coast of the United States and an open city where intellectuals and students are active, the affirmation of the San Francisco Film Festival is of indicative significance to Warhol, the director.

Blue Movie (1968)

is the last film directed by andy warhol himself, and it is a 133-minute color audio film.

The Blue Movie, formerly known as Fuck, was shot in an apartment in Greenwich Village, new york in October 1968. Although the actors Viva and Louis Waldon have a real sexual relationship in the film, most of the time in the film is spent discussing the Vietnam War, cooking and taking a shower. The blue color of "Blue Movie" is because the sunlight penetrating into the room is ignored when filming, and the whole movie takes on a blue tone after filming. The original name was so sensational that Warhol simply called it "Blue Movie" in an attempt to avoid the eyes and ears of the FBI.

judging from the social atmosphere at that time, "Blue Movie" was very provocative in both narrative and sexual presentation, which was consistent with the atmosphere of the era of moral disintegration and sexual liberation at that time. Therefore, the police repeatedly intervened and withdrew the film from the New Andy Warhol Garrick Theatre, which was shown in a single hall. After the film was withdrawn, Warhol republished the Blue Film in the form of a book, completely retaining the still photos and dialogue of the film.

Warhol himself once said, "I always wanted to make a movie about sexual intercourse.