Structural Film  

"The structural film insists on its shape, and what content it has is minimal and subsidiary to the outline. This is the clearest in The Flicker (1965) of Tony Conrad and Ray Gun Virus (1966) of Paul Sharits where the flickering of ..."--"Structural Film" (1969) by P. Adams Sitney

"Those who have seen the whole work of Brakhage, Markopoulos, Kubelka, and Anger, for instance, will immediately grasp the concept of an “evolution of forms" by contrasting Reflections on Black (1955) to The Art of Vision (1960–65), Swain (1951) to The Illiac Passion (1964-66), Mosaic in Confidence) to Our Trip to Africa (Unsere Afrikareise) (1966), or Eaux D'Artifice (1953) to Scorpio Rising (1963)."--"Structural Film" (1969) by P. Adams Sitney

"We find everywhere the artistic trademark - that is, we find material obviously created to remove the automatism or perception; the author's purpose is to create the vision which results from that deautomatized perception. A work is created "artistically" so that its perception is impeded and the greatest possible effect is produced through the slowness of the perception."--Art as Technique' (1917) by Viktor Shklovsky

"The technique of art is to make objects 'unfamiliar', to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important."--Art as Technique' (1917) by Viktor Shklovsky