When Andy Warhol made the switch from painting to filmmaking, he took popular culture by surprise. Warhol was hardly the first artist of his era to traverse media, but he was one of the most prominent and famed, a decidedly off-kilter celebrity who created a personality not fit for prime-time yet nonetheless held a continued presence in prime-time. But the most shocking thing about Warhol’s films was the ways in which they presented the exact opposite of his notorious artwork. Where Warhol’s paintings and prints explored the ubiquitous presence of major movie stars, his own films cast a troupe of eccentric outsiders deemed the alternate universe superstars of his own downtown “factory.” Where Warhol’s paintings created “original” works of glossy, mass-produced products familiar to everyone in a society inundated by advertising (e.g., the infamous Campbell’s soup can), his films were raw, deliberately unpolished, often unedited events that challenged the inherently manufactured nature of the film medium (and, thus, they’re frustratingly hard to see outside of big cities). Whether you delight for a rare screening of the double-projected Chelsea Girls or scoff at the very idea of Empire, Warhol’s films captured a unique place and time in which uninhibited self-expression was king and even the movies could be a happening. So here ‘s some free advice (for fans and filmmakers alike) from the snow-haired savant who did with cinema what an extraterrestrial might do with the English language.


Turin Horse

What exactly do we mean when we find a movie to be boring? Does boring mean redundant? Monotonous? Tedious? Wearisome? Frustrating? Tiring? Uninteresting? Not challenging? The proposed definitions here are far from a collection of synonymous effects on what constitutes a “boring” work. The above terms can often be associated with boredom, but when parsed apart these can denote very different, even oppositional, experiences. For instance, tedium and frustration, which imply an active and engaged (though not positive) form of viewership, do not necessarily describe the same experience as something that feels monotonous or tiring, which by contrast suggests a passive viewer. However, the boredom critique deserves to be severed from its associations with “uninteresting” and “unchallenging” cinema, and “monotony” and “tedium” need not always be negative experiences when watching films. Boring cinema can instead be the most challenging and revelatory of all. In 2009, I wrote a piece titled Slow Isn’t Boring in which I defended the type of deliberately-paced cinema Dan Kois later expressed his frustration with, arguing that slow cinema has the capacity to give viewers a unique and hypnotic experience of time that you can’t find in other entertainment media. Thus, with the films of slow filmmakers like Andrei Tarkovsky, Apichatpong Weerasethakhul, and Carlos Reygadas, I find myself the furthest from a state accurately described as “bored”; in fact, I experience the reverse: total immersion.



Every week, Landon Palmer and Cole Abaius log on to their favorite chat client of 1996 as Raptureness316 and TMal4TheWin in order to discuss some topical topic of interest. This week, the pair try to avoid being pretentious at all costs while discussion The Tree of Life, dismissive reactions to art we don’t understand or like, and the nature of randomness in creation. What is art? And what does Hitler have to do with it?

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published: 02.01.2015
published: 01.31.2015
published: 01.30.2015
published: 01.30.2015

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