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Structural Materialist Film/ Paracinema

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Western University
Visual Arts History
Visual Arts History 2284E

Structural/Materialist Film and Paracinema Wednesday, October 10, 2012 Where did structural materialist film come from?  Conditions for making cheap film changed after WW2 – anyone could make film at a low cost (16 mm)  Newsreels (short films briefing the public on current events) during WW2 = quick, cheap, disposable film  After the war when there were less newsreels and all the technology that had been invented to produce the newsreels went on sale second hand for cheap.  For the first time individuals own the means of production  Artist co-ops bought the technology and shared it together. This created an audience  Artists from other mediums (non-specialists) begin using film because it was cheap and interesting to explore with.  Self-aware of film and its materials. (Screen, camera, projector, spectator, movement, light) and emphasizes the aspects of film that Hollywood worked to make spectators forget.  Subject matter: cinema that solicits the faux-paux of Hollywood (boredom, repetition, etc)  Ex. Tony Conrad, The Flicker (1965) is made up of only white and black alternated frames. It draws attention to the film frames themselves and forces the spectator to think about the illusion that the film frames moving through the shutter create in films. Peter Gidial  “Structural” – a set of theories that emphasized the laws, codes, rules, formulas, and conventions that structure systems of meaning.  The structure of film involves not content but FORM (materi
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