While New Austrian Film, Yost-Wende German cinema, postmodern French narratives, emerging Southeastern European film, and even independent American film have been absorbing and adapting various aspects of recent Central European cinematic experimentalism, this filmic vocabulary and its cultural impact has often annoyingly been misunderstood or altogether avoided in English language film scholarship. Melhus's drag impersonations of iconic personalities, which take on the slippages and subtexts of star representation and classic Hollywood film (also skewered by found film artist Martin Arnold, see Wegenstein) lead Kuzniar to consider Melhus a "child" of Warhol, the pop-artist strongly influential in Germanophone visual arts, but hardly ever mentioned with regard to experimental cinema.