by paul a. As its title vaguely implies, Outer and Inner Space is primarily concerned with personal (inner) and public (outer) spheres of societal life — even as the film itself is sinuously situated between these two opposing ideologies and operates in something of an intermediate territory. It’s a title that also reinforces a stark cultural dichotomy, fueling a never-ending conflict fought since the inception … Continue reading ‘Outer and Inner Space’
by Luise Mörke “I could introduce you to people… interesting people,” Ed Hood’s character in My Hustler (1965) promises the object of his desire (Paul America) in exchange for continuing their transactional relationship. The people Ed is referring to likely stem from his upper class circles. We can imagine that he will take Paul to lavish soirées and swanky parties, where one basks in the … Continue reading Vested Interest – ‘My Hustler’
by Will Sloan It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that invite us to wonder at a single visual idea (Sleep, Kiss, Eat). Quickly he introduced sound, color, movie stars, and more conventional visual grammar until finally arriving at Andy Warhol’s Bad (1976), which is so close to … Continue reading ‘Vinyl’
by Caden Mark Gardner Lonesome Cowboys was shot in the Arizona winter of 1968, a year before Easy Rider became the counterculture crossover hit to polarize America, months before Martin Luther King Jr. and Robert F. Kennedy were assassinated, and months before Andy Warhol survived an assassination attempt from the gun of Valerie Solanas. While Warhol did work on San Diego Surf with Paul Morrissey … Continue reading Riding Lonesome – ‘Lonesome Cowboys’
by Nel Dahl Low-budget horror cinema’s potential to unexpectedly reverse its initially mixed reception is epitomized by the strange afterlife of Paul Morrissey’s Andy Warhol-produced double feature, Flesh for Frankenstein (1973) and Blood for Dracula (1974). After nearly two decades of censored cuts and derision, the films received an unexpected tribute via Madonna’s “Deeper and Deeper” music video. Warhol star Udo Kier’s voice opens the … Continue reading Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’
by Tobias Rosen In March, during the most stringent period of Germany’s lockdown, my partner decided to visit her parents for a week and leave me in our apartment in solitary confinement. I was secretly looking forward to a break from our increasingly unbearable habit of watching and being watched while eating. Each morning, our food routine would begin with an elaborate menu plan for … Continue reading Red Sauce and Sugar Blues – ‘Andy Warhol Eats a Hamburger’
by Ruairí McCann The kiss, that flashpoint of intimacy, communication, and the present tense, has been the subject of art since its prehistory. In Andy Warhol’s Kiss (1963-64), this subject’s ancient roots, straightforward prurience, and its potential for stimulating abstraction can be found in this early example of the artist forging a new cinema: one of ground-breaking casualness and a-causality. Originally conceived and screened as … Continue reading ‘Kiss’
Happy International Women’s Day Continue reading Compilation: Women’s Day 2021
Hello and welcome to the first-ever crossover episode between Ultra Dogme and Cinema Year Zero. Continue reading Compilation: Dogme Year Zero
The last movie I saw screened theatrically was Alfred Hitchcock’s Shadow of a Doubt, on a 35mm print, March 9th, at New York City’s Film Forum. Continue reading Dogme Year Zero: The Blue Hour
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