La materialidad y la disidencia sexual en el cine de Andy Warhol
- Autores: Juan Antonio Suárez
- Localización: Archivos de la filmoteca: revista de estudios históricos sobre la imagen, ISSN 0214-6606, Nº 54, 2006 (Ejemplar dedicado a: La mirada homosexual), págs. 122-143
- Idioma: español
- Títulos paralelos:
- Materiality and sexual dissidence in the films of Andy Warhol
- Enlaces
- Dialnet Métricas: 2 Citas
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Resumen
Films from the Warhol factory constitute key instances of the deployment of a homosexual perspective in filmmaking which is placed beyond the limitations of mainstream cinema.
Andy Warhol’s films have been studied in terms of homoeroticism and underground. Juan Antonio Suárez proposes that they participate of many elements of what would later become “queer” approaches, indifferent to “identity” politics. The author focuses on Gilles Deleuze´s approach to film as materiality, as this will be a key starting point for placing Warhol in a queer context. He studies how materiality is emphasized in terms of framing, composition, editing and sound. Excess is one of the central features of the camp perspective in gay culture. Suárez argues how materiality in Warhol’s films is mobilized in terms of camp excess.
