Movies and TvShows featuring "structural-film" theme.
Wavelength is a groundbreaking experimental film that takes place entirely in a loft, as a continuous zoom slowly reveals the room's contents and the events that unfold. The film explores themes of perception, time, and reality.
X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
A glimpse into a visual representation of memory; A Christmas-time series of meals, coffees, and movies, with friends, lovers, and housemates. Faced with the compounding of faces and places, each moment begins to collide with one another: voices are muddled, and faces are broken. How is memory created? How are they separated from one another?
This audio-visual tone poem uses the language of filmmaking to offer a first-hand evocation of the turbulent psychological effects one can experience due to prolonged lack of sunlight.
Manakamana is a documentary film that takes viewers on a unique journey. The film follows the lives of various individuals as they take a cable-car ride to the Manakamana Temple, a Hindu pilgrimage site located high in the mountains of Nepal. Through a series of observational shots, the film explores themes of religion, culture, and human connection.
“This film was a gift to me. I make no claims for it, nor do I offer any apologies. It comes from work on The Thoughts That Once We Had. There was one shot we had to cut whose loss I particularly regretted. It was a shot of a train pulling into Tokyo Station from Ozu’s The Only Son (1936). So I decided to make a film around this shot, an anthology of train arrivals. It comprises 26 scenes or shots from movies, 1904-2015. It has a simple serial structure: each black & white sequence in the first half rhymes with a color sequence in the second half. Thus the first shot and the final shot show trains arriving at stations in Japan from a low camera height. In the first shot (The Only Son), the train moves toward the right; in the last shot, it moves toward the left. A bullet train has replaced a steam locomotive. So after all these years, I’ve made another structural film, although that was not my original intention.”
A Sunday walk in a forest turns into a poetic journey on perception.
H Is for House (1973) is a mesmerizing avant-garde short film that explores the concept of a house through the perspectives of multiple narrators. With its unique narrative structure and artistic approach, this film takes viewers on a thought-provoking and visually stunning journey.
Serene Velocity stares down the center of an empty institutional hallway while shifting the focal length of a stationary zoom lens, transforming the basement corridor into a nexus of visual and conceptual energy.
Lemon is a one-shot avant-garde short film that explores minimalism and lighting techniques. It focuses on a lemon as a still-life subject, showcasing the play of light and shadow. The film is considered a museum piece and part of the structural film movement.
A film consisting of alternating black and white frames.
The six-decade transformation of a block of houses, shown by means of artfully featured archival shots, highlights the beauty and sadness of human-made decay. In the blink of an eye 66 years pass by and a savings bank replaces a church.
A remix film combining elements of found footage and structural filmmaking by combining Humphrey Bogart's quote from Casablanca with found footage of explosions, emphasized by repetition.
Repetitive abstract experimental film. A bearded man flickers past a hundred times.
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
cloud film meditates on the calming effects of watching clouds, while also demanding action to combat our impact on the environment. It calls attention to a loss of control as the clouds turn into a storm, reflecting the momentum of climate change. As clouds float on screen, fluctuating between different frame rates, this film calls attention to its handmade form through the use of cameraless techniques such as ray-o-gramming, optical printing and hand processing.
"After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive matters." - HF
Dave Jones prototype modules (keyers, color field generators, output amplifier), black-and-white camera, microphone and Serge audio modules (voltage controlled oscillators, filters, sequencer)
Number Two’ is an audio visual work which materializes the definite possibilities of sight and the existence of light in space with the drama in between image and sound as a reaction . It treats the surface of the film itself as a digital artefact that forms an image with a human intervention .It can be seen as an enlargement of a moment in time where form and space breaks inside an indefinite reality .