Structural Film
According to P. Adams Sitney, the trend in American avant-garde cinema during the late 1940s and 1950s (such as the work of Maya Deren and Stan Brakhage) was towards "increased complexity". Since the mid-1960s, filmmakers such as Michael Snow, Hollis Frampton, Paul Sharits, Tony Conrad and Joyce Wieland produced works where simplicity was foregrounded. Sitney labeled this tendency "structural film." The four characteristics of structural film are "fixed camera position…the flicker effect, loop printing, and rephotography off the screen." Sitney describes Snow as the "dean of structural film-makers" who "utilizes the tension" of Wavelength's use of a "fixed-frame and…the flexibility of the fixed tripod". Where Sitney describes structural film as a "working process," Stephen Heath in Questions of Cinema finds Wavelength "seriously wanting" in that the "implied…narrative in some ways a retrograde step in cinematic form". To Heath, the principal theme of Wavelength is the "question of the cinematic institution of the subject of film" rather than the apparatus of filmmaking itself.
In 2003, Snow released WVLNT (or Wavelength For Those Who Don't Have the Time), a shorter (1/3 of the original time) and significantly altered version by overlaying the original film upon itself.
Read more about this topic: Wavelength (1967 Film)
Famous quotes containing the words structural and/or film:
“The reader uses his eyes as well as or instead of his ears and is in every way encouraged to take a more abstract view of the language he sees. The written or printed sentence lends itself to structural analysis as the spoken does not because the reader’s eye can play back and forth over the words, giving him time to divide the sentence into visually appreciated parts and to reflect on the grammatical function.”
—J. David Bolter (b. 1951)
“This film is apparently meaningless, but if it has any meaning it is doubtless objectionable.”
—British Board Of Film Censors. Quoted in Halliwell’s Filmgoer’s Companion (1984)