Solanas's creative work and relationship with Warhol is depicted in the 1996 film, I Shot Andy Warhol, a significant portion of which relates to the SCUM Manifesto, and Solanas's disputes on notions of authorship with Warhol. [120] Television [ edit ]

a b Barron, James (June 23, 2009). "A Manuscript, a Confrontation, a Shooting". The New York Times . Retrieved July 6, 2009. Solanas proceeded to the Factory and waited outside. Morrissey arrived and asked her what she was doing there, and she replied, "I'm waiting for Andy to get money." [53] Morrissey tried to get rid of her by telling her that Warhol was not coming in that day, but she told him she would wait. At 2:00p.m. Solanas went up into the studio. Morrissey told her again that Warhol was not coming in and that she had to leave. She left but rode the elevator up and down until Warhol finally boarded it. [44] Ghomeshi, Jian, host, Q: The Podcast, from CBC Radio 1". Archived from the original on November 5, 2012 . Retrieved July 7, 2009. , as accessed November 18, 2012 (interview of Margo Feiden overall approx. 1:14–18:56 from start) (fragment approx. 5:06–5:45 from start) (based on cbc.ca link before archive.org link provided here). Solanas' life has inspired three plays. Valerie Shoots Andy (2001), by Carson Kreitzer, starred two actors playing a younger (Heather Grayson) and an older (Lynne McCollough) Solanas. [90] Tragedy in Nine Lives (2003), by Karen Houppert, examined the encounter between Solanas and Warhol as a Greek tragedy and starred Juliana Francis as Solanas. [89] Most recently, in 2011, Pop!, a musical by Maggie-Kate Coleman and Anna K. Jacobs, focused mainly on Warhol (played by Tom Story). Rachel Zampelli played Solanas and sang "Big Gun," described as the "evening's strongest number" by The Washington Post. [91] The Manifesto continues by arguing that the male spends his life attempting to become female, and thereby overcome his inferiority. He does this by "constantly seeking out, fraternizing with and trying to live through and fuse with the female". Solanas rejects Freud's theory of penis envy, and argues that men have "pussy envy". Solanas then accuses men of turning the world into a "shitpile" and presents a long list of grievances. [34]

Beauvallet, Ève. "Prise de Houellebecq autour d'un manifeste". Libération (in French) . Retrieved 2023-05-15. In 2018, The New York Times started a series of delayed obituaries of significant individuals whose importance the paper's obituary writers had not recognized at the time of their deaths. In June 2020, they started a series of obituaries on LGBTQ individuals, and on June 26, they profiled Solanas. [104]

Scum Manifesto was adapted into a 1976 short film directed by Carole Roussopoulos and Delphine Seyrig. In the film, Seyrig reads several passages from a French translation of Solanas's manifesto. [118] [119]

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Purkis, Jon; Bowen, James (1997). Twenty-First Century Anarchism: Unorthodox Ideas for a New Millennium. London: Cassell. ISBN 978-0304337422. Biet, Christian; Olivier Neveux (2007). Une histoire du spectacle militant: théâtre et cinéma militants 1966-1981 (in French). Entretemps. p.294. ISBN 978-2-912877-63-5.