Film: 3091

Art + Architecture | 1960 | Sound | Colour


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Pop art. Retrospective exhibition at the Tate Gallery 6th January-4th February 1968.
Roy Lichtenstein.
The film begins with a long-shot then close-up of the entrance to the Tate Gallery as written information about the exhibition appears on the screen. Cut to shots of members of the public walking around the exhibition space with Lichtenstein paintings on the wall. A running commentary from a member of the public tells us his view on the paintings he has seen. Close-up facial shots of several people looking at or discussing the show. Continued views from members of the public played over several images of paintings. Some shots just of the paintings, some which also include the public. Several shots, close-up and full-view, of a painting, shown while the artist discusses his work. Close-up of a small area of a painting; only numerous red dots on white background are visable. The camera slowly pans out to reveal the full painting: The face of a blonde woman crying, with a thought bubble and words at the top of the painting. Cut to a second painting of a blonde woman with face, bedstead and the back of an alarm clock visable, several close-up and full-shots. A panned shot around the painting while the artist continues discussing his work (and cartoon strips). Various shots of two other paintings of women, head and shoulder portraits.

Commentary cuts to members of the public. A man tells us his view of a painting of a couple in a room, the woman in the foreground, left, the man in the background, right. A speech bubble with the words: IT'S...IT'S NOT AN ENGAGEMENT RING IS IT? comes from the woman. Various close-up shots, some quick flashes, of certain areas of the painting. Cut to a full-shot of a painting of a dark haired woman who's face is surrounded by waves/water, with the thought bubble: I DON'T CARE. I'D RATHER SINK THAN CALL BRAD FOR HELP at the top of the painting. Various clse-up shots of the woman's face, eyes and nose are intersperced with quick shots of some areas of the writing. The film cuts to a head and shoulders shot of two women with long, brown hair, viewing the exhibition, no paintings visable, just a plain wall behind. Continued commentary from both the artist and members of the public. Cut to several full and panned close-up shots of a painting; the back of a blonde woman's head on the left of the painting a hand-held mirror with her smiling reflection visable on the right. The film then cuts to shots of the gallery rooms and to groups of people, some sitting, some walking, viewing the paintings. A close-up of an older man's face, as he walks around the exhibition, he has very receeding brown hair, brown moustache, brown glasses, a black jacket and tie. Head and shoulders shots of three other groups of people. Cuts to close-up shots of a black and white painting of things on breakfast table, Lichtenstein continues discussing work. Film cuts to several shots of cups, saucers and plates, which have a black and white Lichtenstein design on them, and are on display at the exhibition. Cut to a full-shot of a painting, with yellow background, of an open cooker, two racks are pulled out with two dishes on each, including a huge joint of meat, pototoes and a pie.

Two close-up shots of this painting follow, as the artist continues to talk about the meaning behind his work: consumerism/ advertising. Cut to a full-shot, then close-up, of a two tone painting of a watch face and part of the strap (18 mins. past eight). Various shots of a Lichtenstein diptych, both showing a woman's leg with high heeled shoe on the lever of a pedal bin, on one side the bin lid is open on the other closed. Includes shots which flash between the two sides of the diptych. Cut to a full-shot of a heavily laced curtain with a window behind, shot zooms in quickly to the centre of painting. Cuts to a close-up, quickly zooming out, of a painting of a reel of wool. Close-up, quickly zooming out to full-shot,of a painting of a golf ball. Two futher shots of the camera zooming, both quickly and slowly, away from the golf ball. The last three paintings have all been painted using white and one other colour. Cut to a close-up, head and shoulders, shot of the gallery security guard. He is about 60 years old, bald but with some white hair at the back and sides. The camera then zooms out slowly to reveal the rest of the gallery room and the people in it, includes several panned shots of the public viewing the paintings. Cut to a brown and white painting of the sea and sky; brown dots on a white background. Close-up shot of area showing half sea and half sky, with the dots of the sky appearing to move down towards the sea. Several other shots of the public viewing landscape type paintings. Full-shot and close-up panning of a dots painting, colour shades from red at top to two shades of orange, yellow and cream at the bottom.

Cut to a full-shot of another painting; the hip area of a cowboy,standing side on, with his hand reaching for his gun in it's holster. Move on to a close-up panned shot,from left to right, of gun and bullets in holster. Cut to several shots, with sound effects, of a painting depicting aircraft machine gun fire. The shots are quick and repeated, using close-ups of certain areas. Slow panned shots, from left to right, of the whole painting, three sections to canvas. Cut to a full-shot, then several close-up shots of a two section canvas: WHAAM. A fighterplane is on the left, having sucessfully hit a second fighterplane which has exploded on the right. Over these images the artist discussed the influence of the comic strip. Cut to shot, close-up panning out and around, of a metal(?) 3D red,white,yellow and black(punched dots) standing form of an explosion. Cut to three shots of audience viewing work, including a long shot of several people standing infront of the three sectioned canvas showing aircraft machine gun fire. Full-shot and panned close-up shots of a painting of Greek temple ruins. Full-shot to close-up of a photograph of a Greek temple from a tourism poster, cut to a black and white drawing of the temple from poster, then to a two tone painting of the same temple with a dotty background. Then follows a shot of another painting of the same image but with a smooth, two tone, rather than dotty background. Cut to eight different shots of the gallery rooms, both long shots and close-ups of the viewing public, including footage of a young child rolling around on floor and a full frontal shot of a 70/ 80 year old man, bald head with round, black glasses, looking at a painting. Full shots of two paintings on gallery wall, the first after Mondrian, and the second a still life after Picasso. Cut to a close-up, panned shot of a female portrait after Picasso. Commentary by Lichtenstein plays over the images. Cut to a long-shot of a painting, with two people infront, on the gallery wall. The large red, white and black painting is an enlarged copy of three brushstrokes. Cut to a close-up of a security guard walking infront of the painting. This is followed by close-up panned shots of certain sections of the painting, returning to a full-shot of the painting. Cut to several close-up panned shots of a small, thin metal grid-like sculpture or structure with circular centre piece, cut to full-shot with shadow on wall behind. Move on to a long-shot of two older women, wearing fur hats and coats, infront of painting, pointing at and discussing work. Narrative view from an older woman is played over the images. The film ends with six different shots of the public walking around the gallery, with reviews and conclussions,vox pops both good and bad, from people who have seen the exhibition, playing over the images.

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