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- Volume 10, Issue 2, 2020
Short Film Studies - Volume 10, Issue 2, 2020
Volume 10, Issue 2, 2020
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Commercialism and the quotidian
More LessAbstractThis article examines Andy Warhol Eating a Hamburger in relation to the aesthetics of Andy Warhol's own filmmaking and contemporaneous American television commercials. I point to how the film's design – including the single long take, ambient sound, and Warhol's performance – draw upon and undermine American commercial culture.
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The impassive gaze
More LessAbstractAndy Warhol Eating a Hamburger evokes an empirical gaze that is not transcendental or metaphysical, but specifically about the physical body and its responses. This documentary impulse focuses directly on how the audience imposes order on what they see.
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Eye contact in Andy Warhol Eating a Hamburger
More LessAbstractIn Andy Warhol Eating a Hamburger, Warhol looks at the camera and quickly away, trying to avoid eye contact, and yet, finding it difficult not to look.
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Andy Warhol Eating a Hamburger and the Pop Cinema portrait
By Tom DayAbstractThe film is placed in an under-explored lineage of Pop Cinema – experimental films concerned with the themes and aesthetics of Pop Art. Specifically, the work is read as a Pop portrait film which shares the formal characteristics of stasis and duration that mark Warhol's and other artists' Pop portrait films.
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Boredom revisited, or how Andy Warhol predated slow cinema
More LessAbstractThe article analyses how Andy Warhol Eating a Hamburger predates slow cinema by evoking situative and existential boredom. Rather than simply facilitating modernist and temporal ways of seeing, Leth explores the creative potential of Warhol's post-Romantic boredom, marked by both duration and meaninglessness, to counteract the anti-immersion effect and amplify receptiveness.
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Andy Warhol Eating a Hamburger as part of the universe of art1
More LessAbstractIn this article I will place Leth's clip of Andy Warhol in the tradition of artistic gestures, as they evolved after Duchamp's 1917 Fountain. By treating Warhol as a ready-made, Leth posed the same questions as Duchamp, Joyce, Pound and even Warhol himself and provided an elegant solution.
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The art of keeping time
More LessAbstractLike the protagonist, both the short story and the short film are subject to the demand to arrive 'on time'. Violently freed from the imperatives of conventional storytelling, this film considers the moment when the laws of time and language fall away in favour of an eternal 'they is'.
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The end of time: Bullet in the Brain
By Ruth BartonAbstractBullet in the Brain departs interestingly from the original story in ways that affect how the central character is constructed. I focus on one particular addition – where Anders points to his watch to insist that the bank has closed unduly early – and discuss its significance.
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Bullet sized
More LessAbstractTaking as a touchstone A. L. Kennedy's observation about the disproportionate impact of the short story compared to its size, this article explores the extent to which David Von Ancken's adaptation of Tobias Wolff's text finds, via montage and perspective, a cinematic analogue to the aesthetic form of the short story.
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Adaptation and audio-visual apophasis in Bullet in the Brain
More LessAbstractBullet in the Brain adapts the key rhetorical figure of apophasis from Tobias Wolff's short story into a remarkable interrelation between sound and picture: an 'audiovisual apophasis', in which a series of memories negated by voice-over narration finds visual expression – and further accentuation – as a result of that very negation.
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Teaching tropes and clichés in Bullet in the Brain
More LessAbstractBased on the narrative mechanisms of the short film, the article addresses its use of clichés and tropes. The focus is on the migration of these tropes from a narrative position to a thematic level – a migration regarded as a metafictional device with the aim of explaining the fate of the main character.
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Time to die: The Edenic moment in Bullet in the Brain
More LessAbstractThis film belongs to a long tradition of 'moment of death' narratives, including Robert Enrico's 1961 adaptation of 'An Occurrence at Owl Creek Bridge' ([1890] 2011) by Ambrose Bierce. The article will discuss how these narratives engage with time and mortality, and how they are compelled to return to an Edenic moment in the dying character's past.
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