ABSTRACT
In 1963, at the height of his success as a Pop artist, Andy Warhol started directing films, which he produced at a frequent pace until 1968. This essay investigates the relationships between painting and cinema in Warhol’s practice. At a first moment, I would like to propose a reading of Warhol’s work based the concepts of appearance, artifice, and performance. Subsequently, I intend to show how these issues are repositioned in the films when faced with the specific qualities of cinema as a medium, such as realism, movement, and time.
keywords:
Andy Warhol (1928-1987); avant-garde cinema; pop art
