{"id":3174,"date":"2002-03-24T15:00:57","date_gmt":"2002-03-24T15:00:57","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=3174"},"modified":"2018-01-25T15:01:23","modified_gmt":"2018-01-25T15:01:23","slug":"andy-warhol-tate-12","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2002\/03\/24\/andy-warhol-tate-12\/","title":{"rendered":"Bike Boy"},"content":{"rendered":"<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><strong>BIKE BOY<\/strong><br \/>\n<strong>Sunday 24 March 2002, at 3:00pm<\/strong><br \/>\n<strong> London Tate Modern<\/strong><\/p>\n<p><em>Factory Sexploitation.<\/em><\/p>\n<p><strong>Andy Warhol, Bike Boy, USA, 1967-68, 109 min<\/strong><\/p>\n<p>The box office success of <em>The Chelsea Girls<\/em> provoked a significant change in the style of Warhol\u2019s filmmaking, which moved towards a more commercial approach as Paul Morrissey took over production. The Bike Boy is Joe Spencer, a hick biker who is obviously out of his depth up against the fast-talking and extrovert Factory regulars Viva, Brigid Polk and Ingrid Superstar. One of a succession of sexploitation movies made throughout the late 60s.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[109],"tags":[],"class_list":["post-3174","post","type-post","status-publish","format-standard","hentry","category-andy-warhol-tate"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=3174"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3174\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=3174"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=3174"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=3174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}