Word: cinemas
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Dates: during 1960-1969
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...CINEMA...
...talkative superstars sustain one's interest without a dramatic plan. Warhol's first films were long static takes of nearly motionless objects- the Empire State Building, a man sleeping. Despite their notoriety for selecting events and objects at random, and thus trying to destroy designed art, these films pushed cinema to its fundamentals and were Warhol's purest formal works. A subsequent series of sharply lit deep-focus features sustained interest through one's shifting attention within the static frame. One continually rediscovered the composition's different elements as the people in the shot moved and talked. Finally, Warhol began...
Starting with extremely formal attempts to discover basic cinema, Warhol has found a more extensive natural order in events, people, and settings informally composed. His new shooting style directs one's attention to his characters' behavior. Warhol, like Hawks, builds characters in their mannerisms, the way they deliver lines, and in their relations with others- their constant bluffing to preserve their dignity or identity. Their physical appearances are important to our perception of them, but looks are secondary to the way they carry themselves...
...CINEMA...
HERE is a second component in Meyer's greatness. At a time when the sex cinema seems increasingly preoccupied with all kinds of perversions-whips and bestiality and white slavery and homo-sexuality and the rest-Meyer comes on as an evangelist for good old boy-meets-girl relations. All the sexual action of the film centers on normal-if energetic-heterosexual encounters between ever-so-consenting adults...