Structural film
From The Art and Popular Culture Encyclopedia
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| - | "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 ..."--''[[Film Culture Reader]]'' (1970) by P. Adams Sitney | + | "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 |
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| Sitney identified four formal characteristics common in Structural films, but all four characteristics are not usually present in any single film: | Sitney identified four formal characteristics common in Structural films, but all four characteristics are not usually present in any single film: | ||
| :* fixed camera position (an apparently fixed framing) | :* fixed camera position (an apparently fixed framing) | ||
| - | :* flicker effect (strobing due to the intermittent nature of film) | + | :* flicker effect ([[strobing]] due to the intermittent nature of film) |
| :* loop printing | :* loop printing | ||
| :* [[rephotography]] (off the screen) | :* [[rephotography]] (off the screen) | ||
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| ==See also== | ==See also== | ||
| + | *[[Abstract film]] | ||
| *[[Non-narrative film]] | *[[Non-narrative film]] | ||
| *[[Still image film]] | *[[Still image film]] | ||
| *[[Collage film]] | *[[Collage film]] | ||
| - | + | *[[Avant-garde film in the United States ]] | |
| ==Bibliography== | ==Bibliography== | ||
| *Gidal, Peter. ''Materialist Film'' Routledge; First Edition, Second Impression edition (Mar. 1989). | *Gidal, Peter. ''Materialist Film'' Routledge; First Edition, Second Impression edition (Mar. 1989). | ||
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| *O'Pray, Michael. ''The British Avant-Garde Film 1926 to 1995: An Anthology of Writings''. Indiana University Press, 2003. | *O'Pray, Michael. ''The British Avant-Garde Film 1926 to 1995: An Anthology of Writings''. Indiana University Press, 2003. | ||
| *Sitney, P. Adams. ''Visionary Film: The American Avant-Garde 1943-1978.'' Second Edition, Oxford University Press 1979 | *Sitney, P. Adams. ''Visionary Film: The American Avant-Garde 1943-1978.'' Second Edition, Oxford University Press 1979 | ||
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"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 |
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Structural film was an experimental film movement prominent in the United States in the 1960s and which developed into the Structural/materialist films in the United Kingdom in the 1970s.
Contents |
Overview
The term was coined by P. Adams Sitney who noted that film artists had moved away from the complex and condensed forms of cinema practiced by such artists as Sidney Peterson and Stan Brakhage. "Structural film" artists pursued instead a more simplified, sometimes even predetermined art. The shape of the film was crucial, the content peripheral. This term should not be confused with the literary and philosophical term structuralism.
Characteristics
Sitney identified four formal characteristics common in Structural films, but all four characteristics are not usually present in any single film:
- fixed camera position (an apparently fixed framing)
- flicker effect (strobing due to the intermittent nature of film)
- loop printing
- rephotography (off the screen)
It has been noted by George Maciunas that these characteristics are also present in Fluxus films.
Key films
- The Flicker (Tony Conrad, 1965)
- Wavelength (Michael Snow, 1966–67)
- T,O,U,C,H,I,N,G (Paul Sharits, 1968)
- One Second in Montreal (Michael Snow, 1969)
- Zorns Lemma (Hollis Frampton, 1970)
- Serene Velocity (Ernie Gehr, 1970)
- Remedial Reading Comprehension (George Landow, 1971)
Key filmmakers
- James Benning
- Tony Conrad
- Hollis Frampton
- Ernie Gehr
- Birgit and Wilhelm Hein
- Kurt Kren
- Peter Kubelka
- George Landow (a.k.a. Owen Land)
- Paul Sharits
- Michael Snow
- Joyce Wieland
See also
- Abstract film
- Non-narrative film
- Still image film
- Collage film
- Avant-garde film in the United States
Bibliography
- Gidal, Peter. Materialist Film Routledge; First Edition, Second Impression edition (Mar. 1989).
- de Lauretis, Teresa and Stephen Heath (eds). The Cinematic Apparatus. Macmillan, 1980.
- Heath, Stephen. Questions of Cinema. Bloomington: Indiana UP, 1981.
- Maciunas, George. "Some Comments on Structural Film by P. Adams Sitney." Film Culture, No. 47, 1969.
- O'Pray, Michael. The British Avant-Garde Film 1926 to 1995: An Anthology of Writings. Indiana University Press, 2003.
- Sitney, P. Adams. Visionary Film: The American Avant-Garde 1943-1978. Second Edition, Oxford University Press 1979
