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agrees to wait outside. Once she leaves, silent images of her previous actions are superimposed. The camera continues to zoom toward the photographs on the wall, two of which show graphics of a walking woman and another showing waves. The hum from the soundtrack, now very high-pitched, becomes unstable and resembles the sound of a siren. The picture of waves is enlarged until it fills the entire frame. The film ends when the photograph comes out of focus and the image fades to white.
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for the start and end of each segment. The scenes were shot out of order, with
Frampton's death scene recorded first to accommodate his schedule. For the final scenes showing the wave photograph, Snow had to physically move the camera from its original position, having reached the limitations of the
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The sound of breaking glass is heard before a man staggers into the loft and dies, collapsing on the floor. As the zoom progresses, his corpse is cut out of the frame. After some time, a woman arrives and makes a phone call to a man named
Richard. She tells him about the dead body she found and
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windows and few furnishings—a desk, a yellow chair, and a radiator against the far wall, with some photographs hanging above the chair. Starting from a wide shot of the loft, the image gradually zooms in on the wall over the course of the film. A woman in a red coat directs two men to place a
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Snow spent a year preparing notes and looking for a space to film. To prepare the loft for filming, he placed the photograph of the East River on the far wall of the room. Above it, he attached a pair of photographs of women walking, along with two silhouettes depicting a walking woman. The
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and the abstract electronic sine. Images of movement are often balanced with changes in how the viewer perceives the room. The entry of the dying man is preceded by fluctuations in the color of the image. The scene of the woman making a phone call is shown twice, the second time through a
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in
Belgium. However, Snow expected the separately recorded soundtrack to prove challenging for wider exhibition and decided it would be better to transfer the score to the film's optical track. Since Snow lacked funds to finish the film, Mekas secured the money to create the print.
309:. The film emerged from an exercise playing with combinations of words, clustered around "room", "wave", "length", "Atlantic", "time", and "ocean". Snow's ideas for the final close-up included a photograph of a "beautiful blond white nude girl", a window, a picture of
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before leaving abruptly. When the image cuts briefly to a solid red screen, a low-pitched hum begins, gradually increasing in pitch until the end of the film. The image of the loft returns, shifting in and out of its negative, monochrome colors, or a blank screen.
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identifies a shift within avant-garde cinema away from complex forms and toward "a cinema of structure wherein the shape of the whole film is predetermined and simplified, and it is that shape which is the primal impression of the film." Analyzing the emerging
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transforms the original film by breaking it into three 15-minute segments that are superimposed. Snow's treatment is satirical, condensing the original "for the viewer who inevitably is in a hurry because all the world's info is pressing to be seen."
459:" was playing. Feeling it did not fit well in the film, Snow replaced it with "Strawberry Fields Forever", which had just been released when he was editing the film. Snow initially mixed the soundtrack such that the sync sound was on the film's
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bookcase against the left wall, and they leave. Later, she returns to the loft with another woman. One turns on the radio, and the image takes a pinkish hue as the women drink beverages and listen to "
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for home media, preferring that it be screened on film in a cinema. In discussing the shortcomings of digital projection, Taubin emphasized the importance of presenting the various film grains of
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377:. He mounted it on a high platform from which it could capture more of the street scenes outside. The distance from the camera to the opposite end of the room was around 80 feet (24 m).
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as "without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-
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iven the film's durational strategy, we feel every minute of the time it takes to traverse the space of the loft to get to the infinite space of the photograph of waves—and the
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would be more suitable, he developed plans to record it on a trombone or violin and mix together multiple takes to fill the duration of the film. Ted Wolff, who worked at
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silhouettes are a design that he had created in 1961 for his
Walking Woman series, which involved recreating the shape in different media and materials. Its inclusion in
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in 1967 was, according to filmmaker Jonas Mekas, "a landmark event in cinema." The film won the Grand Prix at the 1967 Knokke-Le-Zoute
Experimental Film Festival in
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camera could only record 3 minutes of footage before needing to be reloaded, Snow divided the film's runtime into about 18 segments and marked the positions of the
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and the difference in "visual cues through which we read space". As of 2024, a restoration of the 16 mm print is being overseen by John
Klacsmann, archivist at
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characterizes as "anti-illusionist, reflexive, and often paradoxical investigations of cinema's unique, irreducible properties." Snow has grouped it with
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from two stills of the original film. His version uses digital effects to create a perfectly smooth, continuous zoom between the start and end points.
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movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a
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narrows, making the far wall appear closer and closer. This experience cannot be recreated with the human eye and is unique to the mechanical eye.
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as "a singularly unpadded, uncomplicated, deadly realistic way to film three walls, a ceiling and a floor... it is probably the most rigorously
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171:. Considered a landmark of avant-garde cinema, it was filmed over one week in December 1966 and edited in 1967, and is an example of what
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622:"seriously wanting" in that the "implied…narrative in some ways a retrograde step in cinematic form". To Heath, the principal theme of
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painting, a photograph of a child, or a calendar featuring an autumn landscape. Snow settled on a photograph he had taken of the
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black-and-white reversal, and Ansco stocks. Snow experimented with expired film, as well as film intended for outdoor lighting.
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accompanied by a reworking of Amy Taubin's phone call about discovering a dead body. In 2015 Benning created a remake of
2001:
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critics' poll of the greatest films ever made, and also received three directors' votes. It was named #85 in the 2001
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is the "question of the cinematic institution of the subject of film" rather than the apparatus of filmmaking itself.
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Snow cast the film from his circle of friends. He selected Amy Taubin because of her previous acting experience in a
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732:'s experimental film section Wavelengths, created by programmer Susan Oxtoby in 2001, takes its name from the film.
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1319:
Snow, Michael (October 1968). "A Statement on 'Wavelength' for the
Experimental Film Festival of Knokke-Le-Zoute".
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brought a copy of the film while traveling across Europe, exhibiting it a dozen times. When he screened it at the
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to white—at the film's end. The film inspires as much boredom and frustration as intrigue and epiphany....
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was recorded during filming but made an exception for the music on the radio. During the original shoot,
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1996:
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2614:
825:, pointing to "the possibility that a single idea can define the essential outline of an entire film."
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1788:(October 1968). "Report on the Fourth International Experimental Film Exposition at Knokke-le-Zoute".
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859:. In it, the loft serves as an example of the sort of spaces to which artists had access prior to the
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338:. Hollis Frampton volunteered to appear in the film after Snow asked for "somebody to die for me".
586:, Snow seeks to balance "fact" with "illusion". The soundtrack incorporates both representational
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1967:
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s 45-minute running time nevertheless contributes to a reputation for being a difficult work:
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373:, over the course of a week in December 1966. Snow borrowed the camera he used from filmmaker
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as "at once one of the simplest and one of the most complex films ever conceived." In a 1968
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Varela, Willie (2005). "Canada's
Multimedia Master: An E-Mail Interview with Michael Snow".
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For the film's soundtrack, Snow initially considered increasing the volume in an extended
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across a breakfast table shows the contents being physically displaced by the camera.
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Maizels, Michael (2017). "Steve Reich, Richard Serra, and the
Discovery of Process".
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The
Michael Snow Project: Presence and Absence (The Films of Michael Snow 1965-1991)
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was first shown at a private screening at the Film-Maker's Cinematheque attended by
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films ever made. The film has been designated and preserved as a masterwork by the
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Where Sitney describes structural film as a "working process," Stephen Heath in
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in Amsterdam, a group of enraged audience members knocked over the projector.
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proposed that Snow's use of the zoom "produces the formal correlative of the
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alongside objects used in its production and other related images. His 1976
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716:' Essential Cinema Repertory collection. The film ranked 102nd in the 2012
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for its use of a fixed camera position in defining the shape of the work.
444:. Wolff worked with Snow to build a motor that controlled the oscillator.
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as trilogy of "camera motion" films. His photographic slide installation
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2178:
1563:; Weyergraf, Clara (1979). "The Films of Richard Serra: An Interview".
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1405:"You Don't Buy Poetry at the Airport: John Klacsmann and Raymond Foye"
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established a template for many of Snow's later films, which critic
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Tuchman, Mitch (April 27, 1976). "Star Billing for a Sound Track".
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magazine presented Snow its 1967 Independent Film Award. In a 1968
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509:, and Amy Taubin. Mekas recommended submitting the film to the
325:. He selected the image for its calm and undramatic qualities.
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Image and Identity: Reflections on Canadian Film and Culture.
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Bellour, Raymond; Hardyck, Allyn (2017). "Layers of Images".
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critics' list of the 100 Best Films of the 20th Century. The
2352:
A Critical Cinema 2: Interviews with Independent Filmmakers
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1280:
1278:
1339:
Snow, Michael (October 1968). "Letter from Michael Snow".
1289:"The Lord of Missed Rules: An Interview with Michael Snow"
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uses the film's closing photograph for its cover artwork.
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show variations on the concept of an extended zoom from a
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is defined by its zoom. Over the course of the film, the
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1631:
Clark, George (January 2009). "I'm not a storyteller".
786:, a shorter and significantly altered version, on DVD.
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WVLNT (or Wavelength for Those Who Don't Have the Time)
440:, was interested in the project and suggested using an
1963:"< --- >: A Quick Pan Across TIFF's Wavelengths"
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In his 1969 article "Structural Film", film historian
2081:"Behind the Work of Michael Snow and Sharon Lockhart"
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182:", calling Snow "the dean of structural filmmakers."
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WVLNT (Wavelength for Those Who Don't Have the Time)
2234:
Snow Seen: The Films and Photographs of Michael Snow
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1855:Zryd, Michael (2007). "Avant-Garde Films: Teaching
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2428:Visionary Film: The American Avant-Garde 1943–1978
1831:. Vol. 5, no. 230-Part Two. p. 29.
1195:(October 1968). "Conversation with Michael Snow".
2684:Canadian avant-garde and experimental short films
1214:"At Play With Weirdly Morphing Images and Sounds"
1130:"At Play With Weirdly Morphing Images and Sounds"
1987:
1985:
1689:Michelson, Annette (Spring 1979). "About Snow".
1602:"Richard Serra in conversation with Lucy Steeds"
1398:
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463:and the electronic glissando was on a separate
233:The entire film is set inside a loft with four
2507:at the Canadian Filmmakers Distribution Centre
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2398:On Minimalism: Documenting a Musical Movement
8:
2375:The Sublimity of Document: Cinema as Diorama
819:influenced the development of his 1973 work
207:. In a 1969 review of the film published in
2679:American avant-garde and experimental films
2126:
2577:
2563:
2555:
2269:Negative Space: Manny Farber on the Movies
2027:sfn error: no target: CITEREFLegge200971 (
1297:. Vol. 26, no. 2. pp. 22–23
968:Negative Space: Manny Farber on the Movies
511:Knokke-Le-Zoute Experimental Film Festival
447:Snow had intended to make use of whatever
321:, part of a series made for his sculpture
27:
18:
2412:. Toronto: Alfred A. Knopf Canada, 1995.
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1037:. Vol. 42, no. 493. p. 42.
693:Considered a canonical avant-garde film,
205:Audio-Visual Preservation Trust of Canada
2664:1960s avant-garde and experimental films
1961:Sicinski, Michael (September 14, 2023).
1924:. British Film Institute. Archived from
2022:
1811:. No. 46. October 1968. p. 1.
1637:. Vol. 19, no. 1. p. 11.
880:MacDonald, Scott (1985). "So Is This".
872:
1387:The Collected Writings of Michael Snow
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970:, London: Studio Vista, 1971, p. 250
396:to produce changes in the light and
730:Toronto International Film Festival
1825:(14 December 1968). "Intermedia".
1600:Steeds, Lucy (November 13, 2009).
1499:Yalkut, Jud (1968). "Wavelength".
1212:Rockwell, John (August 25, 2002).
1128:Rockwell, John (August 25, 2002).
1075:Windhausen, Federico (2023). "The
14:
1385:"Ten Questions to Michael Snow".
1252:Reichert, Jeff (March 16, 2015).
815:has detailed how descriptions of
2451:Abstraction in Avant-Garde Films
2255:Wilfrid Laurier University Press
1948:"100 Best Films - Village Voice"
1805:"Ninth Independent Film Award".
1438:"Michael Snow with Raymond Foye"
2689:English-language Canadian films
1997:"A Conceptual Artist of Cinema"
1031:(February 1975). "Wavelength".
369:Shooting happened in a loft on
361:was filmed at 300 Canal Street
346:marked the end of the project.
297:Snow's production notes before
2694:Films directed by Michael Snow
2478:University of California Press
2449:Turim, Maureen Cheryn (1985).
2402:University of California Press
2356:University of California Press
2271:. London: Studio Vista, 1971.
2079:Picard, Andréa (Summer 2015).
188:is often listed as one of the
1:
1922:"Votes for Wavelength (1967)"
1750:. No. 47. pp. 1–10.
654:review, Jud Yalkut describes
400:in the image. These included
392:He shot on multiple types of
335:The Prime of Miss Jean Brodie
2674:1960s English-language films
2236:. Toronto: PMA Books, 1980.
2002:The New York Review of Books
1794:. No. 46. pp. 6–9.
1648:Taubin, Amy (October 2015).
1345:. No. 46. pp. 4–5.
1287:Enright, Robert (May 2007).
1201:. No. 46. pp. 1–3.
837:. The film opens with black
833:makes explicit reference to
805:, and his 1970 recording of
607:movement, Sitney highlights
1744:(1969). "Structural Film".
1436:Foye, Raymond (June 2021).
966:Reprinted in Manny Farber,
769:Breakfast (Table Top Dolly)
2710:
2305:Kunz, Martin, ed. (1979).
2171:10.1162/016228703762874214
1658:. Vol. 54, no. 2
1262:Museum of the Moving Image
797:was an early influence on
595:over the continuing zoom.
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2472:Wees, William C. (1992).
2373:MacDonald, Scott (2019).
2324:Legge, Elizabeth (2009).
2151:McCall, Anthony (2003). "
1468:Journal of Film and Video
1325:. No. 46. p. 1.
1034:The Monthly Film Bulletin
563:The primary structure of
532:but was rejected. Artist
240:Strawberry Fields Forever
33:A still of the loft from
26:
2326:Michael Snow: Wavelength
2288:Indiana University Press
1650:"The Last Picture Show?"
856:The Man Who Envied Women
408:, Kodak color negative,
363:(left, pictured in 2012)
2432:Oxford University Press
2396:O'Brien, Kerry (2023).
2379:Oxford University Press
2282:Heath, Stephen (1981).
1901:Anthology Film Archives
782:In 2003, Snow released
714:Anthology Film Archives
553:Anthology Film Archives
2309:. Kunstmuseum Luzern.
2153:Line Describing a Cone
1828:Los Angeles Free Press
1403:Foye, Raymond (2024).
822:Line Describing a Cone
707:
530:New York Film Festival
483:
479:Director Michael Snow
457:The Little Drummer Boy
366:
763:features images from
699:
543:Snow did not release
478:
357:
225:movie in existence."
2669:1960s Canadian films
2659:1960s American films
2474:Light Moving in Time
2155:and Related Films".
2023:Legge, 2009 & 71
1995:(December 3, 2021).
1875:10.1353/cj.2007.0053
1091:10.1162/octo_a_00483
775:, in which a single
662:review of the film,
2408:Shedden, Jim (ed.)
2284:Questions of Cinema
1928:on January 18, 2017
1679:, pp. 156–157.
1029:Rosenbaum, Jonathan
1018:, pp. 114–115.
931:, pp. 368–397.
849:used an excerpt of
616:Questions of Cinema
432:. After deciding a
167:by Canadian artist
2615:La RĂ©gion Centrale
2585:Films directed by
2455:UMI Research Press
2232:Cornwell, Regina.
1897:"Essential Cinema"
1837:community.28039775
1561:Michelson, Annette
1550:, pp. 13, 80.
1409:Gagosian Quarterly
1219:The New York Times
1135:The New York Times
756:La RĂ©gion Centrale
630:Critical reception
484:
481:(pictured in 2013)
461:optical soundtrack
367:
16:1967 Canadian film
2641:
2640:
2464:978-0-8357-1629-1
2388:978-0-19-005212-6
2339:978-1-84638-055-6
2251:Waterloo, Ontario
2246:Elder, R. Bruce.
1634:Sight & Sound
1538:, pp. 22–24.
1443:The Brooklyn Rail
1359:Los Angeles Times
1242:, pp. 39–40.
1062:, pp. 10–11.
994:, pp. 5, 12.
853:in her 1985 film
719:Sight & Sound
634:The screening of
573:Annette Michelson
465:reel-to-reel tape
165:experimental film
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738:
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664:Gene Youngblood
660:L.A. Free Press
632:
605:structural film
600:P. Adams Sitney
593:superimposition
561:
524:Snow submitted
513:
495:Richard Foreman
473:
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266:Hollis Frampton
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180:structural film
176:P. Adams Sitney
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2208:
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2204:MacDonald 2019
2196:
2194:, p. 240.
2192:MacDonald 1992
2184:
2143:
2139:MacDonald 1992
2131:
2129:, p. 250.
2119:
2090:
2087:. No. 49.
2071:
2058:10.1086/691003
2052:(3): 617–649.
2034:
2015:
1981:
1953:
1939:
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1888:
1869:(1): 109–112.
1862:Cinema Journal
1842:
1814:
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1765:
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1753:
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909:
883:Film Quarterly
871:
870:
868:
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861:gentrification
813:Anthony McCall
737:
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651:Film Quarterly
631:
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560:
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497:, Ken Jacobs,
491:Shirley Clarke
472:
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332:adaptation of
315:Tom Wesselmann
311:Billie Holiday
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293:Pre-production
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1362:. p. E7.
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876:
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864:
863:of New York.
862:
858:
857:
852:
848:
847:Yvonne Rainer
844:
840:
836:
832:
829:'s 1978 film
828:
827:James Benning
824:
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809:
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796:
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789:
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777:tracking shot
774:
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746:
742:
736:Related works
735:
733:
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726:
725:Village Voice
721:
720:
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685:
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682:contemplative
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577:suspense film
574:
570:
569:angle of view
566:
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556:
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550:
546:
541:
539:
535:
534:Richard Serra
531:
527:
522:
517:
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507:Nam June Paik
504:
500:
499:George Kuchar
496:
492:
488:
482:
477:
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466:
462:
458:
455:'s cover of "
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275:Lynn Grossman
274:
272:
271:Joyce Wieland
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181:
177:
174:
173:film theorist
170:
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162:
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147:
144:United States
141:
137:
133:
127:
113:
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110:
104:
100:
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88:
84:
80:
77:
76:Joyce Wieland
73:
69:
65:
62:
58:
54:
50:
47:
44:
40:
36:
30:
25:
20:
2629:
2621:
2613:
2605:
2598:
2597:
2587:Michael Snow
2544:
2533:
2522:
2511:
2503:
2476:. Berkeley:
2473:
2450:
2427:
2409:
2397:
2374:
2351:
2325:
2307:Michael Snow
2306:
2283:
2268:
2247:
2233:
2226:Bibliography
2211:
2199:
2187:
2162:
2156:
2152:
2146:
2134:
2127:O'Brien 2023
2122:
2105:
2099:
2093:
2084:
2074:
2049:
2043:
2037:
2018:
2006:. Retrieved
2000:
1993:Hoberman, J.
1972:. Retrieved
1966:
1956:
1942:
1930:. Retrieved
1926:the original
1916:
1904:. Retrieved
1891:
1866:
1860:
1856:
1826:
1817:
1808:Film Culture
1806:
1800:
1791:Film Culture
1789:
1780:
1768:
1756:
1747:Film Culture
1745:
1721:
1696:
1690:
1684:
1672:
1660:. Retrieved
1653:
1643:
1632:
1611:. Retrieved
1605:
1595:
1570:
1564:
1555:
1543:
1531:
1506:
1500:
1472:
1466:
1460:
1448:. Retrieved
1441:
1416:. Retrieved
1408:
1386:
1380:
1368:
1357:
1351:
1342:Film Culture
1340:
1322:Film Culture
1320:
1299:. Retrieved
1292:
1265:. Retrieved
1258:Reverse Shot
1257:
1254:"Wavelength"
1247:
1235:
1223:. Retrieved
1217:
1207:
1198:Film Culture
1196:
1189:Mekas, Jonas
1151:
1139:. Retrieved
1133:
1123:
1111:
1099:
1080:
1076:
1055:
1043:
1032:
1023:
1011:
1006:, p. 8.
999:
987:
975:
967:
962:
954:"Trust Blog"
948:
936:
924:
912:
890:(1): 34–37.
887:
881:
875:
854:
850:
842:
834:
830:
820:
816:
806:
794:
793:
787:
783:
781:
772:
768:
764:
760:
754:
748:
740:
739:
723:
717:
709:
708:
700:
694:
692:
679:
667:
659:
655:
649:
645:Film Culture
643:
635:
633:
623:
619:
615:
613:
608:
597:
583:
581:
564:
562:
548:
544:
542:
525:
523:
486:
485:
480:
446:
427:
391:
380:Because the
379:
371:Canal Street
368:
362:
358:
343:
340:
333:
327:
322:
298:
296:
282:Roswell Rudd
249:
232:
218:
215:Manny Farber
208:
185:
184:
169:Michael Snow
159:
158:
157:
130:Running time
107:Release date
93:Michael Snow
85:Michael Snow
68:Roswell Rudd
55:Michael Snow
46:Michael Snow
34:
1932:January 17,
1475:(1/2): 25.
941:Sitney 1979
929:Sitney 1979
917:Sitney 1979
831:Grand Opera
808:Four Organs
803:Steve Reich
761:Slidelength
750:<--->
745:J. Hoberman
712:is part of
695:Wavelength'
680:triumph of
642:, Belgium.
514: [
503:Jonas Mekas
389:zoom lens.
244:the Beatles
193:underground
42:Directed by
2654:1967 films
2648:Categories
2599:Wavelength
2534:Wavelength
2523:Wavelength
2512:Wavelength
2504:Wavelength
2216:Legge 2009
1857:Wavelength
1773:Heath 1981
1761:Heath 1981
1548:Legge 2009
1536:Legge 2009
1373:Legge 2009
1156:Legge 2009
1116:Legge 2009
1104:Legge 2009
1077:Wavelength
1060:Legge 2009
1048:Turim 1985
1016:Turim 1985
1004:Legge 2009
992:Legge 2009
980:Legge 2009
867:References
851:Wavelength
843:Wavelength
835:Wavelength
817:Wavelength
799:minimalist
795:Wavelength
773:Wavelength
765:Wavelength
741:Wavelength
710:Wavelength
668:Wavelength
666:describes
656:Wavelength
636:Wavelength
624:Wavelength
620:Wavelength
609:Wavelength
588:sync sound
584:Wavelength
565:Wavelength
549:Wavelength
545:Wavelength
526:Wavelength
487:Wavelength
449:sync sound
424:Soundtrack
410:Agfachrome
406:Ektachrome
402:Kodachrome
394:film stock
375:Ken Jacobs
359:Wavelength
344:Wavelength
319:East River
299:Wavelength
288:Production
261:Amy Taubin
219:Wavelength
217:describes
186:Wavelength
163:is a 1967
160:Wavelength
134:45 minutes
72:Amy Taubin
52:Written by
35:Wavelength
22:Wavelength
2631:Cityscape
2165:: 58–59.
2108:(1): 25.
1726:Kunz 1979
1677:Wees 1992
1509:(4): 50.
1240:Kunz 1979
1079:Papers".
801:composer
684:cinema.'"
453:Joan Baez
438:Bell Labs
434:glissando
430:crescendo
386:zoom lens
303:wide shot
235:mullioned
197:art house
139:Countries
101:Ted Wolff
90:Edited by
2539:AllMovie
2426:(1979).
2350:(1992).
2330:Afterall
2257:, 1989.
2114:26386821
2066:26547719
1968:Notebook
1883:30132005
1655:Artforum
1607:Afterall
1481:20688481
1267:July 18,
559:Analysis
414:reversal
330:Broadway
323:Atlantic
307:close-up
229:Synopsis
223:composed
210:Artforum
201:Canadian
190:greatest
149:Language
98:Music by
60:Starring
2179:3397608
2158:October
2008:June 4,
1974:June 5,
1906:June 5,
1699:: 118.
1692:October
1662:June 5,
1613:June 5,
1566:October
1523:1210605
1450:June 5,
1446:: 19–26
1418:June 5,
1301:June 5,
1225:June 5,
1141:June 5,
1082:October
904:1212281
676:Minimal
674:, post-
528:to the
471:Release
350:Filming
152:English
116: (
2634:(2019)
2626:(2002)
2618:(1971)
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