Screening of Warhol' Empire, all the info at http://www.calgarycinema.org/september.php
Wednesday September 10th, starting @ 4pm
(access permitted the entire 8 hours), The Plaza Theatre
$7 General Admission, $5 Members/Student/Seniors
(access permitted the entire 8 hours), The Plaza Theatre
$7 General Admission, $5 Members/Student/Seniors
From the site:
Empire consists of one stationary shot of the Empire State Building taken from the forty-fourth floor of the Time-Life Building. Jonas Mekas served as cameraman. The shot was filmed from 8:06 p.m. to 2:42 a.m. on July 25-26, 1964. Empire consists of a number of one-hundred-foot rolls of film, each separated from the next by a flash of light. Each segment of film constitutes a piece of time. Warhol's clear delineation of the individual segments of film can be likened to the serial repetition of images in his silkscreen paintings, which also acknowledge their process and materials.
Warhol conceived a new relationship of the viewer to film in Empire and other early works, which are silent, explore perception, and establish a new sense of cinematic time. With their disengagement, lack of editing, and lengthy non-events, these films were intended to be part of a larger environment. They also parody the goals of his avant-garde contemporaries who sought to convey the human psyche through film or used the medium as metaphor.
Publication excerpt
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 240
...The qualities that make Empire a precursor to reality TV-no script, elevation of the mundane-would seem to encourage sampling. But defenders of the film (which Warhol slowed down; shot at 24 frames per second, it's projected at 16) say it simply can't be cut. "It's conceptually important that it's eight hours long," says Callie Angell, director of the Whitney's Warhol Film Project. "Some people show it at the regular sound speed to make it go by faster, and I just think that's not the film." Seeing the whole thing offers surprises, she adds. "[Warhol and Jonas Mekas] were shooting it from the office of the Rockefeller Foundation in the Time-Life building, and when they changed the reels they'd turn the lights on. In three reels, they started before they turned the lights back off, so you can see a reflection of Warhol and Mekas in the window. No one had ever mentioned that before. Probably no one ever had sat through the whole thing.
Karen Rosenberg, New York Art
Empire consists of a single stationary shot of the Empire State Building filmed from 8:06 p.m. to 2:42 a.m., July 25-26, 1964. The eight-hour, five-minute film, which is typically shown in a theater, lacks a traditional narrative or characters. The passage from daylight to darkness becomes the film's narrative, while the protagonist is the iconic building that was (and is again) the tallest in New York City. Warhol lengthened Empire's running time by projecting the film at a speed of sixteen frames per second, slower than its shooting speed of twenty-four frames per second, thus making the progression to darkness almost imperceptible. Non-events such as a blinking light at the top of a neighboring building mark the passage of time. According to Warhol, the point of this film-perhaps his most famous and influential cinematic work-is to "see time go by."
Warhol conceived a new relationship of the viewer to film in Empire and other early works, which are silent, explore perception, and establish a new sense of cinematic time. With their disengagement, lack of editing, and lengthy non-events, these films were intended to be part of a larger environment. They also parody the goals of his avant-garde contemporaries who sought to convey the human psyche through film or used the medium as metaphor.
Publication excerpt
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 240
...The qualities that make Empire a precursor to reality TV-no script, elevation of the mundane-would seem to encourage sampling. But defenders of the film (which Warhol slowed down; shot at 24 frames per second, it's projected at 16) say it simply can't be cut. "It's conceptually important that it's eight hours long," says Callie Angell, director of the Whitney's Warhol Film Project. "Some people show it at the regular sound speed to make it go by faster, and I just think that's not the film." Seeing the whole thing offers surprises, she adds. "[Warhol and Jonas Mekas] were shooting it from the office of the Rockefeller Foundation in the Time-Life building, and when they changed the reels they'd turn the lights on. In three reels, they started before they turned the lights back off, so you can see a reflection of Warhol and Mekas in the window. No one had ever mentioned that before. Probably no one ever had sat through the whole thing.
Karen Rosenberg, New York Art
Empire consists of a single stationary shot of the Empire State Building filmed from 8:06 p.m. to 2:42 a.m., July 25-26, 1964. The eight-hour, five-minute film, which is typically shown in a theater, lacks a traditional narrative or characters. The passage from daylight to darkness becomes the film's narrative, while the protagonist is the iconic building that was (and is again) the tallest in New York City. Warhol lengthened Empire's running time by projecting the film at a speed of sixteen frames per second, slower than its shooting speed of twenty-four frames per second, thus making the progression to darkness almost imperceptible. Non-events such as a blinking light at the top of a neighboring building mark the passage of time. According to Warhol, the point of this film-perhaps his most famous and influential cinematic work-is to "see time go by."
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