Publication: The Face in Flight: Andy Warhol’s Henry Geldzahler
Authors
Suárez, Juan A.
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Publisher
Michigan Press
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DOI
https://doi.org/10.1353/cj.2019.0060
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info:eu-repo/semantics/article
Description
©2018. This manuscript version is made available under the CC BY-NC-ND 3.0 license http://creativecommons.org/licenses/by-nc-nd/4.0/
This document is the Accepted, version of a Published Work that appeared in final form in Journal of Cinema and Media Studies. To access the final edited and published work see https://doi.org/10.1353/cj.2019.0060
Abstract
Existing analyses of Andy Warhol's Henry Geldzahler (1964) interpret it as a psychological portrait that reveals its subject's interiority. This article, by contrast, refutes such claims of psychological depth. Through a close analysis of the film's surface and of Geldzahler's performance, it reads the work in terms of parody, play with props and materials, and queer affect. It illuminates its peculiar nonpsychologizing portraiture through William James's theses about transitional mental states and the continuity of the psychic and the material. It concludes with a reconsideration of Warhol's film portraits in light of these ideas.
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Citation
JCMS: Journal of Cinema and Media Studies, vol. 58, no. 4 (2019): 112-133.
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