Henry Geldzahler

This intimate and loving portrait of the legendary arbiter of fashion, art and culture illustrates the many stages of Vreeland's remarkable life. Born in Paris in 1903, she was to become New York's "Empress of Fashion" and a celebrated Vogue editor.

Iconic American artist and filmmaker Andy Warhol is the subject of this documentary, which looks at both his life and his influence on pop culture. The film provides details about Warhol's upbringing in Pittsburgh and follows his move to New York City, where he found massive success turning pop imagery into art and eventually founded "The Factory," his famed studio and party venue. Among the many notables interviewed are Dennis Hopper, David Hockney, and Roy Lichtenstein.

After a difficult break-up, Hockney is left unable to paint, much to the concern of his friends.

The films were made between 1964 and 1966 at Warhol's Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second. The resulting two-and-a-half-minute film reels were then screened in 'slow motion' at 16 frames per second.

A short documentary profile of the Anthology Film Archives, shot on the eve of the move to the historic 2nd Avenue Courthouse. Staff and patrons are interviewed, and films preserved by Anthology are spotlighted.

One of four finished Batman Dracula shorts shown publicly by Warhol.

Stephen Smith sets out to discover the real Andy Warhol - in the hour-by-hour detail of his daily life.

Documentary on Andy Warhol's cinema of the sixties, made for Channel 4 in association with The Factory, MOMA and the Whitney Museum of Art and in collaboration with Simon Field.

With a rambling, unstructured style that echoes Andy Warhol’s own approach to filmmaking, this documentary profiles his career, showing him to be a brilliant manipulator, dedicated voyeur and person of astute commercial judgment.

Metropolitan Museum of Art curator Henry Geldzahler reflects on the 1960s pop art scene in New York.

Henry Geldzahler is a feature-length underground film directed by Andy Warhol, featuring art curator Henry Geldzahler smoking a cigar and becoming increasingly uncomfortable for 97 minutes. The film was shot silent and in black-and-white in the first week of July 1964, using unused film left from the filming of Empire.

Documentarians Juan Drago and Bruce Torbet follow a surprisingly relaxed and open Andy Warhol, at the peak of his powers in 1965 and 1966, around his bustling original "Factory" in midtown Manhattan. Warhol experiments with an early videotape machine, recording a beautiful, laughing Edie Sedgwick - his "superstar" of the moment - for the video portion of "Outer and Inner Space," his filmed record of the "live" Sedgwick juxtaposed against her video image on an adjacent monitor. Also captured is a Warhol show at the Leo Castelli gallery, including the famous Mylar "Clouds," as various unnamed art dealers and critics muse in voiceover about the meaning and significance of Warhol's work.

This pop movie about Warhol includes appearances by Henry Geldzahler, Edie Sedgwick and The Velvet Underground.

Henry Geldzahler, filmed ins oft focus against the sharply in-focus silver painted Factory wall, fills his time by placidly untying and removing his necktie, turning his collar up, retying his tie, and smoothing his collar down again.

David Bailey, self-taught photographer and one of the prime architects of the Swinging Sixties, broadened his horizons in the early 1970s by making high-profile documentaries for ATV. With his standing among the artistic community, Bailey was given unprecedented access to Pop Art legend Andy Warhol and his followers, in an attempt to penetrate behind the expressionless exterior of a man who was one of the most controversial figures of his generation.

Andy Warhol's experimental reconstruction of the assassination of the President of the United States, John F. Kennedy, which serves as his critical commentary on the way the media presented the tragic event.