Notes on Blow Job, a film by Andy Warhol by Gregory Battcock

Extension of Reality Again Warhol presents a segment, a slice of life. Through a process that basically insults and demeans the dignity of his subject-actor, Warhol reaches an extremely human conclusion via a most human situation. Subject The presentation of the material in Blow Job is, once again, anthological a mirror image, so to speak, which presents demands on our attention that are entirely without regard for that images relation to the dialectic of the story. One of theses demands arises through the use of the actor. The Actor The film is about a youth getting a blow job, or, in other words, sex. The lengthy [35 [at 18 fps]] blow job is accented by the paucity of expression demonstrated by the beautifully inept actor. Like the protagonist of the other Warhol films, he is left to his own devices and since he is obviously either incapable of or un-interested in coping with the situation, he finds himself in a fairly ludicrous position. In this sense the actor becomes an element or tool used in such a way never before considered in film. This is another example of Warhols formidable ability to extend and redefine reality a preoccupation intrinsic to art. And the new reality will prove a practical one for the observer as it encompasses areas hitherto not considered. The very recognition of such a usage is not without profit. Expression The expressions registering emotion and acknowledgment of the act on the part of the actor are limited and repetitive. They are enacted and re-enacted with the regularity of a formula buy they nonetheless suggest, at various times, boredom, mild ecstasy, some interest, interest in something else, aloofness, and awareness of the camera. That this may be an accurate reproduction of a common reaction to sex is not particularly important; what is interesting is the fact that at no time in this pornographic film is there any real illusion toward or depiction of sex. Sex isnt plainly illustrated. Neither are sexual parts, acts or movements. Except for a bit of leather jacket which occasionally appears on the

screen, the actor is as without identity as is the act. It is neither a homosexual nor heterosexual incident but rather personal, human and catholic. Time The film illustrates a complete act, from beginning to end, with a minimum of peripheral activity. The length of the film of the blow job is exaggerated probably to clarify the artists dedication to the time element, as time is possibly the one most important element distinguishing the film medium from the other fine arts. And, if in most films, events are telescoped so that lengthy acts often appear much shorter on the screen, in a Warhol film they often appear longer, in their transition from actuality to the reality of the medium. Composition In those of Warhols films concentrating on the image of a single face, that face is not centered squarely on the picture and frequently seems to tip off a bit. Eventually the image may center itself, then gradually moves back, or to the other side. Such a limited movement becomes of major importance, as has been pointed out elsewhere. A simple gesture becomes, in the abstract-expressionist sense, an event. The very idea of pictorial composition is hence dispensed with. Humanism (reality) Elements of reality have been extended or invented by the film-artist. An old commonplace situation is presented through the medium for the first time, and in a totally new, complete and startlingly simple manner. The properties of the film medium have never been more thoroughly considered as far as its message is concerned. If the medium and message are to be considered as one, the films of Andy Warhol are the best illustration of the concept polarized by Marshall McLuhan that the medium is the message. The deliberate recognition of the message = medium idea may partially explain why it is hardly necessary to see a Warhol film. There is little to see that cant be adequately described. In fact, this is a common characteristic of much new art. It is the intellectual aspect of art which sometimes overshadows the visual. But, to not see the film is, in affect, to deny the time element and this element is, in itself, too important to be discarded. A real and total involvement in the process by the observer seems to be effected only through the simple sitting through of the film. Napping, talking and the taking of stimulants permitted.

It is not surprising that Warhols favourite film is (so it is said) The Humanoids. Warhols own films are so extraordinarily close to reality they maintain great dignity and likeable reserve. Their subject is humanity. G. B., Film Culture, n 37, Summer 1965, pp. 20-21