Andy Warhol’s films are infamous for extremely long takes, static shots, and excessive lengths. Though not all his movies fit that mold perfectly, films like Empire (1965) are formative for how audiences and critics have conceived his cinematic works.
In this video essay, I look at Warhol’s relationship to time, suggesting that his cultivation of boredom subverts how cinematic time is normally constructed.
Warhol’s Chelsea Girls will be shown on January 22 at the IU Moving Image Archive Screening Room in conjunction with IU Cinema’s Underground Film Series. This screening is free, but reservations are required and can be made here.
Laura Ivins loves stop motion, home movies, imperfect films, nature hikes, and Stephen Crane’s poetry. She has a PhD from Indiana University and an MFA from Boston University. In addition to watching and writing about movies, sometimes she also makes them.