Page 48 - Studio International - November December 1975

I

W B Hein Structural Studies 1974

degree Structural Studies is a condensation of step in the aesthetic transformation ; how far are the
work done so far. This is demonstrated by the parts of simplest manipulations with the camera when shooting
earlier films which are included in the sequence of 33 already interpretations of the reproduced reality ? In this
short films.1 2The theme is the analysis of the phenomena confrontation of manipulated abstract and realistic image
of the perception of movement, which as a basis for the material another problem becomes clear. It occurs in any
functioning of the film belongs to its structure. The short dealing with art, for example when you compare the
single films each contribute one statement to the subject. catalogue description and the real object. It is the
The optical laws on which the illusion of natural 'expression' of a visual formulation which can be
movement depends are also basic to the generation of physically experienced but not expressed by verbal
pure filmic movement. In three parts the different kinds of language. It is as B. Eichenbaum says the 'photogenic',
movement in film are 'discussed' : 1. Illusion of natural the' "zaum"-essence' of the film, 'the language that
movement and deceptive movement ; 2. Movement by transgresses reason, that lies in front of reason.'14
shooting and projecting (frame steadiness in camera and Structural Studies is a first effort to tackle this problem, to
projector) ; 3. Movement by camera operations (zoom, see how far it is possible to make the 'unconscious'
change of focus, change of light). As an introduction, the element of the work into a conscious process. This
film begins with short quotations of the laws on which the question becomes important if you want to overcome the
perception of movement depends : after-image, romantic ideology of the unconscious creative power, of
persistence of vision, phi-phenomenon.' 3 The emphasis the genius, where the art and artist occupy a position
lies on the law of the phi-phenomenon, as it is the basis outside and above society and its historical process.
for filmic animation. These film quotations consist of I n reviews the film was often called a finger-exercise or
demonstration material : dots, squares and refilmed non-art. This reaction is provoked by the loose or open
examples of scientific film documentation. The film as a construction of the film. It is part of the concept of
whole follows the principle of confronting demonstration opposition to the closed form of the classical work of art
material with chosen real image material, each time taken and its ideology of uniqueness. The structure of the film is
with the same technique. open to change and continuation. The 'work of art" must
Thus the film poses questions about the basic problems not close but open itself. It is therefore necessary to lay
of aesthetic creation : where does it start ; where is the open the process of working, to build the film up almost
border between art and science ; to what extent is the didactically and show how it is made. The aesthetic
technical process of reproduction already an elementary information must become a part of everyday
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