Imagine, if you will, that screening on the wall in front of you is American artist Andy Warhol’s 1963 film Kiss. Warhol’s anthropological documentary-style fifty minute film is of fixed camera head-shots of same and opposite sex couples french-kissing; passionately. The duration of the kiss on screen is dependent upon the length of 16mm film that Warhol had in his silent Bolex camera at the time, usually 100 feet – enough to make four minutes of screen kiss time. Kiss invokes the screen issues for the reading of this essay: desire, gender, duration, spectatorship, and affect.