S.C.U.M. Manifesto (Society for Cutting Up Men) by Valerie Solanas Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic- minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and destroy the male sex.
SCUM MANIFESTO Being an incomplete female, the male spends his life attempting to complete himself, to become female. He attempts to do this by constantly seeking out, fraternizing with and trying to live through and fuse with the female, and by claiming as his own all female characteristics – emotional strength and independence, forcefulness, dynamism, decisiveness, coolness, objectivity, assertiveness, courage, integrity, vitality, intensity, depth of character, grooviness, etc – and projecting onto women all male traits – vanity, frivolity, triviality, weakness, etc. It should be said, though, that the male has one glaring area of superiority over the female – public relations. (He has done a brilliant job of convincing millions of women that men are women and women are men). The male claim that females find fulfillment through motherhood and sexuality reflects what males think they'd find fulfilling if they were female.
concerns in radical feminism pay attention to women’s oppression as women recover positive elements in femininity celebrate the body question notions of: authorship authorial property the relationship of art to culture
32 Campbell's Soup Cans Ferus Gallery in Los Angeles, 1962
Warhol’s poetics of the image repetition creates iconic images iconic images represent a form of ‘affectless art’ ‘affectless art’ represents detachment the collective state of mind replaces the sacred and the symbolic
Warhol as a prophet “In the future everybody will be famous for 15 minutes” Revised philosophy: "In the future everyone will be famous for fifteen minutes." I'm bored with that line. I never use it anymore. My new line is, "In fifteen minutes everybody will be famous.” (1979)
contrasts personal cause vs. public cause the state against the individual feminists as a collective group vs. free agents the idealist vs. the capitalist man vs. woman
culture vs capital the theater (live performance) vs. the virtual (static image) the collective vs. the corporate resistance vs. complicity the public space of the street (Solanas’s inner space) vs. the private space of Warhol productions (Warhol’s public persona)
auteur art films deliberately address the audience as knowledgeable cinemagoers, those who understand film techniques play with difficult expressive codes such as sharp breaks with story lines deliberately mirror the auteur in the characters
characteristic features muted and dominant double voice deep focus prevents spectator identification repetitive use of particular elements inflections (of voice, images) intensity camera focus allows women to be controllers of their spaces synchronic not diachronic chronology
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