By Alberte Pagán
Andy Warhol quizá sea el artista más well known del siglo xx. Pero su cine, al que se dedicó intensamente a partir de 1963, cuando entraba en el período más notorio de su carrera como pintor, sigue siendo desconocido para el gran público. Influido inicialmente por las películas de Ron Rice y Jack Smith, Warhol pronto encontró su propia voz en una serie de películas minimalistas ("Sleep", "Empire") que lo convertirían en pionero del estructuralismo cinematográfico. Sin renunciar a sus presupuestos artísticos, alcanzó el éxito comercial con "My Hustler" y "Chelsea Girls". Reconocido como innovador, podemos rastrear su huella tanto en el cine formal más radical como en, al otro lado del espectro, las gamberradas del cine "punk" o espacios televisivos como "Gran Hermano" y similares. Este libro ofrece un paseo por los angeles materialidad de las películas de Warhol, lejos de enfoques conceptuales que utilizan las películas más como pretextos para el debate teórico que como textos para el análisis crítico.
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Qxd 38 • 9/23/05 3:20 PM Page 38 AN INTRODUCTION TO AUSTRALIAN FILM filmmaking has been subject to the various and changing government policies, business plans, vertical integration, and other economic factors that pervade the industry, with the result that filmmaking has sometimes boomed, but, just as often, the bubble burst. The bubble has been expanding now since the 1970s, and although there is some hope that the industry is now on a secure footing, providing a consistent film output, recent downturns suggest that the bubble might be slowly contracting.
In the exhibition sector, the first multiplexes built in suburban shopping complexes began exhibiting in the late 1980s. In the 1990s and the early 21st century, Australians have taken their talents to Hollywood and elsewhere and succeeded, both in films that are Australian and in more general, international films. At the same time, some Australian films have been widely acclaimed within this globalized industry. PROBABILITIES AND POSSIBILITIES The Australian industry might appear to have a secure future.
These writers and critics have delineated Australian film in particular ways (see Moran & O’Regan 1989: xi–xv). An exploration of these definitions not only clarifies the situation, but also explores the nature and history of the industry. First, all films made in Australia might qualify for the label of Australian film. At one time, this was enough to classify a film. The early silent films, for example, such as Breakers at Bondi (1897), For the Term of His Natural Life (1908), and Charles Chauvel’s Forty Thousand Horsemen (1940), clearly were made in Australia.