Abstract
This paper concerns the historical presentation of avant-garde streams and the interpretation of their general characteristics. Emphasis has been placed on the neo-avant-garde art practice, especially European and American neo-avant-garde film, with the aim of carrying out a theoretical platform for the analysis and interpretation of the structural film by Yugoslav film experimentalist Mihovil Pansini. Its aim is also to understand and interpret the events that caused the establishment of world’s first experimental film festival, the GEFF (Genre Film Festival). The idea of film innovation, as a film experiment, was at that time much more feasible in democratically open Western societies than under the conditions that governed the hermetically strict environment of the socialist realism of postwar Yugoslavia. The paper will attempt to prove that the phenomenon of Yugoslavian amateur cinema clubs as such was an ideal and perhaps only possible solution for the realization of innovative, radically subversive and experimental film ideas.
 
 Article received: December 30, 2017; Article accepted: January 10, 2018; Published online: Aprul 15, 2018; Original scholarly paper
 
 How to cite this article: Kružić, Dragana. "Experimental (Structural Film) as the Concept of Film Innovation (Mihovil Pansini and Geff)." AM Journal of Art and Media Studies 15 (2018): 11–22. doi: 10.25038/am.v0i15.226
Highlights
The origins of structural filmStructural film as a form can be placed in the period of the second avant-garde, or so-called film neo-avant-garde, and is defined as a subtype of experimental film
This paper concerns the historical presentation of avant-garde streams and the interpretation of their general characteristics
Emphasis has been placed on the neo-avant-garde art practice, especially European and American neo-avant-garde film, with the aim of carrying out a theoretical platform for the analysis and interpretation of the structural film by Yugoslav film experimentalist Mihovil Pansini
Summary
Structural film as a form can be placed in the period of the second avant-garde, or so-called film neo-avant-garde, and is defined as a subtype of experimental film It is often identified, in the broadest sense, with minimalist art, reduced to the primary and consistent structural relationship of its constituent elements.. Adams Sitneya, who introduced the concept of structural/materialist film, the period of structural film in American avant-garde film starts in the 1960s with Andy Warhol’s movies Sleep (1963), Eat (1963), Empire (1964), Harlot (1965) and Beauty (1965).14 Each of these films emphasizes the temporal component of the recording and Warhol represents the first director/author who has introduced extended recording times of the same scenes in the movies. An element of the presence of the actor-author-director, visibility of what he sees from his perspective, focalization, the reaction of his camera and later editing represents the one big change preceded by the development of structural film.
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