Invisibleevidence – BlowJob, avant-garde, documentaryand pornography
DOI:
https://doi.org/10.15448/1980-3729.2011.2.9470Keywords:
Documentary, pornography, Andy WarholAbstract
This essay intends to reflect on the dialogue documentary domain and pornography focusing on the principle of the maximum visibility, common to both domains. In order to approach such dialogue – its strength, limits and implications – we will analyze BlowJob (Andy Warhol, 1963/64), a film that is neither a documentary nor pornography, but interacts wit both generic traditions. Intensified by what Linda Williams defines as frenzy of the visible, the principle of the maximum visibility is the key element to convey the reality authority of both genres (an effect central to their aesthetic and cultural experience). BlowJob both reinforced and questioned such principle by producing what I’d like to call an invisible evidence.Downloads
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