Click here, or on the image above, to see Edie Sedgwick in one of Andy Warhol’s most brilliant films, the two-screen, 33 minute Inner and Outer Space (1965), the only one Warhol’s films to incorporate the use of videotape, creating a hallucinatory monologue/duologue between Edie in front of Warhol’s Auricon 16mm film camera, and Edie onscreen, in a previously shot video.
I first saw the film when it came out in a rare screening at The Filmmakers’ Cinematheque, and many years later, at The Whitney Museum in a restored print in 1998, which confirmed my initial impression of the film — it’s absolutely original in conception, design and execution. Callie Angell, the late Warhol historian, wrote an excellent essay on the film in Millennium Film Journal 38 (Spring, 2002), in which she notes that “Outer and Inner Space is a 16mm film of Edie Sedgwick sitting in front of a television monitor on which is playing a prerecorded videotape of herself. On the videotape, Edie is positioned on the left side of the frame, facing right; she is talking to an unseen person off-screen to our right. In the film, the ‘real’ or ‘live’ Edie Sedgwick is seated on the right side of the film frame, with her video image behind her, and she is talking to an unseen person off-screen to our left.
The effect of this setup is that it sometimes creates the rather strange illusion that we are watching Edie in conversation with her own video image. The film is two reels long, each reel is 1,200 feet or 33 minutes long, and the videotapes playing within the film are each 30 minutes long. The two film reels are projected side by side, with reel one on the left and reel two on the right, and with sound on both reels. So what you see are four heads, alternating video/film, video/film, and sometimes all four heads are talking at once.
Warhol was able to make this film in August 1965 when he was loaned some rather expensive video equipment by the Norelco Company. The summer of 1965 was the time when portable, affordable video equipment designed for the home market first became available to the general public; a number of different companies, including Sony and Matsushida, were developing their own home video recording systems and beginning to market them at prices ranging from $500 to $1000 each.
The Norelco video equipment was a rather high-end system costing about $10,000, and it was loaned to Warhol as a kind of promotional gimmick. That is, Warhol was quite well-known as an underground filmmaker at the time, as well as an artist, and the idea was that Warhol would experiment with the new video medium, see what he could do with it, and then report on his experiences in a published interview and more or less give his endorsement to the new medium and specifically to Norelco’s product.
The Norelco equipment was delivered to Warhol’s studio, the Factory, on July 30, 1965; in fact, the arrival of the video camera and the ensuing conversations about it between Warhol and his colleagues are some of the events documented in the early chapters of Warhol’s tape-recorded novel, A. During the month that Warhol had this video access, he shot approximately 11 half-hour tapes (at least, that’s how many Norelco videotapes have been found in the Warhol Video Collection).
One of the interesting things about Outer and Inner Space is that it contains, in effect, the only retrievable footage from these 1965 videotapes. The Norelco system utilized an unusual video format, called ’slant scan video,’ which differed from the helical scan format developed by Sony and other video companies, and which very quickly became obsolete. There are now no working slant scan tape players anywhere in the world, the other videotapes which Warhol shot in 1965 cannot be played back, and the only accessible footage from these early videos exists in this film, which Warhol, in effect, preserved by reshooting them in 16mm.”
You can read the entire essay by clicking here; it’s a remarkable essay on a brilliant film.