Abstract

Seeing Time Through Rhythm: An Audiovisual Study of Flicker Films

Highlights

  • The current essay will deal with flicker films, a sub-genre of structural film, that developed mostly in the United States during the s

  • Through the analysis of the works of three different filmmaker and artists, namely Peter Kubelka, Tony Conrad and Paul Sharits, it is argued, through and intermedial approach, that their work operated a demystification of the whole cinematic apparatus while challenging the long held assumption of music as the major art of time

  • Flicker films are a sub-genre of structural film that developed mostly in the United States during the s

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Summary

Introduction

Flicker films are a sub-genre of structural film that developed mostly in the United States during the s. Even though the aesthetic results of their work differ substantially, they are all motivated by similar research on abstraction, rhythm and temporality that inevitably leads towards a deconstruction of the medium. For this reason, it is extremely interesting to compare three different artists whose work has explored a similar technique in approximately the same period, whilst apparently being unaware of each other.[1]. I will explore how single frames are organised, how sound and image correspond to each other, and how three works which share similar techniques differ substantially in regard to conceptual approach, the aims and scope of the work, and the aesthetic of the final result. I will claim, demystify film by questioning and exploring the limits of their medium: motion and linearity

Structural Film
Peter Kubelka
Tony Conrad
Paul Sharits
Conclusions
Media Cited

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