Responce 5 + Kiss

I really liked Warhol's kiss because it managed to access and release an incredible amount of emotions for such a short and simple film. Just the image of a couple kissing can trigger so many emotions: happiness, loneliness or disappointment, humor, etc. I also liked how limited the shots and camera movements were. Warhol could have easily gotten very crazy with how he controlled the camera or manipulated the film stock, but he was smart and kept it very simple.

1. Some venues included Bleeker St. Cinema, Cinema 16, and Fashion Industries Auditorium. The Charles Theater (bought by Ed Stine and Walter Langsford) often showcased local artists, jazz concerts, and other rare and unique programs such as displaying Kurbrick's rare first film.

2. Mekas associates Baudelairean cinema with filmmakers such as Jack Smith, Ron Rice, and Ken Jacobs. Mekas used this term as many of the same characteristics these filmmakers were using were used by French poet Baudelairean. These filmmakers attempted to explore cinema and tired to access all the inner workings of the medium without being inhibited by social norms or conventions.

3. Both of Jack Smiths films, Flaming Creatures and Normal Love ran into legal trouble when they were displayed in NYC. Strangely enough around this time, Kenneth Anger's Scorpio Rising caused protests in LA leading to additional arrests.

4. When Ronald Tavel worked with Warhol, he seemed to purposefully sabotage his own scripts making them very bad on purpose. Vinal took the novel (not the movie) of A Clockwork Orange and constructed the plot only around its crucial moments, giving it the bare amount of story necessary to understand. Edie Sedgewick ended up stealing the show with her very powerful trance and dream like performance.

5. Some of the more popular underground films began to make their ways into larger venues during this time. Film such as The Cheetah Girls and Breathdeath were shown all over NYC and even found their ways into other major cities such as Buffalo, Chicago, even as far south as Atlanta. While most film critics felt it was okay to show these types of films in private venues, as soon as they entered main, more distinguished venues, they were received very negatively.

6. Mike Getz was a significant player in the crossover of the underground because his uncle owned several mainstream movie theaters. He was able to set up several showings of underground films in these movie theaters. These screenings were often very successful and began to get mainstream America accustom or interested in underground cinema.

7. Hoberman and Rosenbaum claim that Warhol's post '67 films took the styles of his early films, but only changed in terms of shock value. Their use of taboo drugs or sexual content increased, but otherwise were very similar in style to his older work.