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• W22682831 abstract "Forty years since its heyday, legacy of structural film remains visible in work of contemporary artists and filmmakers Sharon Lockhart and Steve McQueen. Given rich set of aesthetic terms this avant-garde film movement has provided, these artist/filmmakers demonstrate renewed iterations of structural film's formal investigations into ontology of filmic medium--the kind initially exemplified by landmark works like Michael Snow's Wavelength (1967) and Ernie Gehr's Serene Velocity (1970). Beyond echoing movement's late-modernist experiments with specificity of filmic image and viewer's conscious perception of it, Lockhart and McQueen place new critical attention on what forms these initial preoccupations have generated. Hence, we find them borrowing structural film's static shots, long takes, and self-reflexive camera movements in order to re-imagine films like Wavelength and Serene Velocity; in doing so, they renegotiate relation between these formal strategies and narrative and content--two of structural film's main objects of contention. Furthermore, in redefining what these filmic forms can do, Lockhart and McQueen unearth an affective political dimension that rests latent in structural film's formal austerity. With works such as Lockhart's Lunch Break (2008), a portrait of contemporary American labour within intimate interiors of a Maine shipyard, and McQueen's Hunger (2008), which recounts IRA martyr Bobby Sands' 1981 prison hunger strike, political potential of structural-filmic image finds rich expression. In touching upon these figures and these works, I hereby aim to uncover what they may tell us about relation between formal and critical functions of structural-filmic image in its renewed guise. [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] Structural Film, Condensed Looking back to avant-garde film culture centred in and around New York during late 1960s and early 1970s, we find structural film emerging from an interest in material and perceptual properties of film in and of itself. Like contemporaneous developments in art (namely minimalism), an overarching emphasis on intrinsic properties of a medium's given form, combined with a newfound investment in phenomenological conditions such properties entail, underlie discourse of structural film. Just as minimalist sculptors created works that reflect how sculptural forms exist objectively in space and time, experimental filmmakers created works that address film's specific function in spatio-temporal field shares with its viewers. From material properties of celluloid and light through to experiential conditions intrinsic to film-viewing experience, formal and perceptual nature of cinema figures as structural film's subject and object alike. In turn, substance of a given film becomes synonymous with its structure: internal of image and underlying filmmaking processes that determine it. Thus, by foregrounding and communicating its own formal structure in tandem with viewing experience that structure engenders, and by exploring ontology and phenomenology of filmic medium together, structural film sought to reflect, through film, viewer's conscious experience of film. Formally, we can loosely identify structural film's diverse practitioners (including, most prominently, Snow, Gehr, Hollis Frampton, Paul Sharits, George Landow, Jonas Mekas, Joyce Wieland, George Maciunas, Peter Kubelka, and others) according to four criteria outlined by movement's chief theoretician, P. Adams Sitney. According to Sitney, use of a fixed camera position, flicker effect, loop printing, and rephotography off screen set terms for categorizing structural film; (1) such traits, however, are rarely seen together, nor do they exhaust what may operate as a structural film. What unites these tendencies, then, is overarching way that with these techniques the shape of whole film is predetermined and simplified, Sitney writes, for it is that shape which is primal impression of film. …" @default.
• W22682831 created "2016-06-24" @default.
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• W22682831 date "2013-03-22" @default.
• W22682831 modified "2023-09-23" @default.
• W22682831 title "Sharon Lockhart and Steve McQueen: Inside the Frame of Structural Film" @default.
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