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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.
320:. 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."
470:" 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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388:. 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
447:
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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1415:
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characterizes as "anti-illusionist, reflexive, and often paradoxical investigations of cinema's unique, irreducible properties." Snow has grouped it with
1932:
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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
182:. 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
633:"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
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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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743:'s experimental film section Wavelengths, created by programmer Susan Oxtoby in 2001, takes its name from the film.
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1330:
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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478:. This would give him the ability to adjust the tape playback based on the acoustics of each screening venue.
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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,
2007:
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1272:
836:, pointing to "the possibility that a single idea can define the essential outline of an entire film."
1799:(October 1968). "Report on the Fourth International Experimental Film Exposition at Knokke-le-Zoute".
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870:. 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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349:. Hollis Frampton volunteered to appear in the film after Snow asked for "somebody to die for me".
597:, Snow seeks to balance "fact" with "illusion". The soundtrack incorporates both representational
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s 45-minute running time nevertheless contributes to a reputation for being a difficult work:
384:, 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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1476:
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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727:' 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.
455:. 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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2189:
1574:; Weyergraf, Clara (1979). "The Films of Richard Serra: An Interview".
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1416:"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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520:, and Amy Taubin. Mekas recommended submitting the film to the
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336:. He selected the image for its calm and undramatic qualities.
2259:
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
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A Critical Cinema 2: Interviews with Independent Filmmakers
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1289:
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Snow, Michael (October 1968). "Letter from Michael Snow".
1300:"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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Clark, George (January 2009). "I'm not a storyteller".
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797:, a shorter and significantly altered version, on DVD.
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WVLNT (or Wavelength for Those Who Don't Have the Time)
451:, was interested in the project and suggested using an
1974:"< --- >: A Quick Pan Across TIFF's Wavelengths"
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In his 1969 article "Structural Film", film historian
2092:"Behind the Work of Michael Snow and Sharon Lockhart"
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193:", calling Snow "the dean of structural filmmakers."
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WVLNT (Wavelength for Those Who Don't Have the Time)
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Snow Seen: The Films and Photographs of Michael Snow
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1866:Zryd, Michael (2007). "Avant-Garde Films: Teaching
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2439:Visionary Film: The American Avant-Garde 1943–1978
1842:. Vol. 5, no. 230-Part Two. p. 29.
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1206:(October 1968). "Conversation with Michael Snow".
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2695:Canadian avant-garde and experimental short films
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1320:
1225:"At Play With Weirdly Morphing Images and Sounds"
1141:"At Play With Weirdly Morphing Images and Sounds"
1008:
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1998:
1996:
1700:Michelson, Annette (Spring 1979). "About Snow".
1613:"Richard Serra in conversation with Lucy Steeds"
1409:
1407:
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474:and the electronic glissando was on a separate
244:The entire film is set inside a loft with four
2518:at the Canadian Filmmakers Distribution Centre
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1345:
1343:
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2409:On Minimalism: Documenting a Musical Movement
1993:
1404:
2386:The Sublimity of Document: Cinema as Diorama
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830:influenced the development of his 1973 work
218:. In a 1969 review of the film published in
2690:American avant-garde and experimental films
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2280:Negative Space: Manny Farber on the Movies
2038:sfn error: no target: CITEREFLegge200971 (
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1308:. Vol. 26, no. 2. pp. 22–23
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979:Negative Space: Manny Farber on the Movies
522:Knokke-Le-Zoute Experimental Film Festival
458:Snow had intended to make use of whatever
332:, part of a series made for his sculpture
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2423:. Toronto: Alfred A. Knopf Canada, 1995.
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1048:. Vol. 42, no. 493. p. 42.
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704:Considered a canonical avant-garde film,
216:Audio-Visual Preservation Trust of Canada
2675:1960s avant-garde and experimental films
2002:
1972:Sicinski, Michael (September 14, 2023).
1971:
1935:. British Film Institute. Archived from
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1822:. No. 46. October 1968. p. 1.
1648:. Vol. 19, no. 1. p. 11.
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891:MacDonald, Scott (1985). "So Is This".
14:
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1398:The Collected Writings of Michael Snow
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981:, London: Studio Vista, 1971, p. 250
407:to produce changes in the light and
741:Toronto International Film Festival
24:
1836:(14 December 1968). "Intermedia".
1611:Steeds, Lucy (November 13, 2009).
1510:Yalkut, Jud (1968). "Wavelength".
1223:Rockwell, John (August 25, 2002).
1139:Rockwell, John (August 25, 2002).
1086:Windhausen, Federico (2023). "The
25:
2716:
2507:
1396:"Ten Questions to Michael Snow".
1263:Reichert, Jeff (March 16, 2015).
826:has detailed how descriptions of
303:
2462:Abstraction in Avant-Garde Films
2266:Wilfrid Laurier University Press
1959:"100 Best Films - Village Voice"
1816:"Ninth Independent Film Award".
1449:"Michael Snow with Raymond Foye"
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2700:English-language Canadian films
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2008:"A Conceptual Artist of Cinema"
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1042:(February 1975). "Wavelength".
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380:Shooting happened in a loft on
372:was filmed at 300 Canal Street
357:marked the end of the project.
308:Snow's production notes before
2705:Films directed by Michael Snow
2489:University of California Press
2460:Turim, Maureen Cheryn (1985).
2413:University of California Press
2367:University of California Press
2282:. London: Studio Vista, 1971.
2090:Picard, Andréa (Summer 2015).
971:
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199:is often listed as one of the
13:
1:
1933:"Votes for Wavelength (1967)"
1761:. No. 47. pp. 1–10.
877:
665:review, Jud Yalkut describes
434:
411:in the image. These included
403:He shot on multiple types of
346:The Prime of Miss Jean Brodie
298:
2685:1960s English-language films
2247:. Toronto: PMA Books, 1980.
2013:The New York Review of Books
1805:. No. 46. pp. 6–9.
1659:Taubin, Amy (October 2015).
1356:. No. 46. pp. 4–5.
1298:Enright, Robert (May 2007).
1212:. No. 46. pp. 1–3.
848:. The film opens with black
844:makes explicit reference to
816:, and his 1970 recording of
618:movement, Sitney highlights
7:
1755:(1969). "Structural Film".
1447:Foye, Raymond (June 2021).
977:Reprinted in Manny Farber,
780:Breakfast (Table Top Dolly)
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239:
10:
2721:
2316:Kunz, Martin, ed. (1979).
2182:10.1162/016228703762874214
1669:. Vol. 54, no. 2
1273:Museum of the Moving Image
808:was an early influence on
606:over the continuing zoom.
481:
360:
2604:
2483:Wees, William C. (1992).
2384:MacDonald, Scott (2019).
2335:Legge, Elizabeth (2009).
2162:McCall, Anthony (2003). "
1479:Journal of Film and Video
1336:. No. 46. p. 1.
1045:The Monthly Film Bulletin
699:
574:The primary structure of
543:but was rejected. Artist
251:Strawberry Fields Forever
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44:A still of the loft from
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2337:Michael Snow: Wavelength
2299:Indiana University Press
1661:"The Last Picture Show?"
867:The Man Who Envied Women
419:, Kodak color negative,
374:(left, pictured in 2012)
2443:Oxford University Press
2407:O'Brien, Kerry (2023).
2390:Oxford University Press
2293:Heath, Stephen (1981).
1912:Anthology Film Archives
793:In 2003, Snow released
725:Anthology Film Archives
564:Anthology Film Archives
265:
2320:. Kunstmuseum Luzern.
2164:Line Describing a Cone
1839:Los Angeles Free Press
1414:Foye, Raymond (2024).
833:Line Describing a Cone
718:
541:New York Film Festival
494:
490:Director Michael Snow
468:The Little Drummer Boy
377:
18:Wavelength (1966 film)
774:features images from
710:
554:Snow did not release
489:
368:
236:movie in existence."
2680:1960s Canadian films
2670:1960s American films
2485:Light Moving in Time
2166:and Related Films".
2034:Legge, 2009 & 71
2006:(December 3, 2021).
1886:10.1353/cj.2007.0053
1102:10.1162/octo_a_00483
786:, in which a single
673:review of the film,
2419:Shedden, Jim (ed.)
2295:Questions of Cinema
1939:on January 18, 2017
1690:, pp. 156–157.
1040:Rosenbaum, Jonathan
1029:, pp. 114–115.
942:, pp. 368–397.
860:used an excerpt of
627:Questions of Cinema
443:. After deciding a
178:by Canadian artist
2626:La RĂ©gion Centrale
2596:Films directed by
2466:UMI Research Press
2243:Cornwell, Regina.
1908:"Essential Cinema"
1848:community.28039775
1572:Michelson, Annette
1561:, pp. 13, 80.
1420:Gagosian Quarterly
1230:The New York Times
1146:The New York Times
767:La RĂ©gion Centrale
641:Critical reception
495:
492:(pictured in 2013)
472:optical soundtrack
378:
27:1967 Canadian film
2652:
2651:
2475:978-0-8357-1629-1
2399:978-0-19-005212-6
2350:978-1-84638-055-6
2262:Waterloo, Ontario
2257:Elder, R. Bruce.
1645:Sight & Sound
1549:, pp. 22–24.
1454:The Brooklyn Rail
1370:Los Angeles Times
1253:, pp. 39–40.
1073:, pp. 10–11.
1005:, pp. 5, 12.
864:in her 1985 film
730:Sight & Sound
645:The screening of
584:Annette Michelson
476:reel-to-reel tape
176:experimental film
167:
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16:(Redirected from
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2634:*Corpus Callosum
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132:
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989:
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889:
885:
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782:is a parody of
749:
702:
675:Gene Youngblood
671:L.A. Free Press
643:
616:structural film
611:P. Adams Sitney
604:superimposition
572:
535:Snow submitted
524:
506:Richard Foreman
484:
437:
363:
306:
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277:Hollis Frampton
268:
242:
191:structural film
187:P. Adams Sitney
154:
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75:Hollis Frampton
48:
28:
23:
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2618:Back and Forth
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2508:External links
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2219:
2217:, p. 409.
2215:MacDonald 2019
2207:
2205:, p. 240.
2203:MacDonald 1992
2195:
2154:
2150:MacDonald 1992
2142:
2140:, p. 250.
2130:
2101:
2098:. No. 49.
2082:
2069:10.1086/691003
2063:(3): 617–649.
2045:
2026:
1992:
1964:
1950:
1924:
1899:
1880:(1): 109–112.
1873:Cinema Journal
1853:
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1786:, p. 129.
1776:
1774:, p. 166.
1764:
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1075:
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954:, p. 374.
944:
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920:
894:Film Quarterly
882:
881:
879:
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872:gentrification
824:Anthony McCall
748:
745:
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662:Film Quarterly
642:
639:
571:
568:
508:, Ken Jacobs,
502:Shirley Clarke
483:
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436:
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362:
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343:adaptation of
326:Tom Wesselmann
322:Billie Holiday
305:
304:Pre-production
302:
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296:
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289:Naoto Nakagawa
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189:describes as "
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2452:0-19-502486-9
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2429:0-394-28106-3
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2250:
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2229:, p. 19.
2228:
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2152:, p. 65.
2151:
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2015:
2014:
2009:
2005:
1999:
1997:
1981:
1980:
1975:
1968:
1960:
1954:
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1373:. p. E7.
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1186:, p. 66.
1185:
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1168:
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1128:
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896:
895:
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883:
875:
874:of New York.
873:
869:
868:
863:
859:
858:Yvonne Rainer
855:
851:
847:
843:
840:'s 1978 film
839:
838:James Benning
835:
834:
829:
825:
821:
820:
815:
811:
807:
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800:
796:
791:
789:
788:tracking shot
785:
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773:
769:
768:
763:
762:
757:
753:
747:Related works
744:
742:
738:
737:
736:Village Voice
732:
731:
726:
722:
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715:
709:
707:
697:
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694:
693:contemplative
688:
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623:
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589:
588:suspense film
585:
581:
580:angle of view
577:
567:
565:
561:
557:
552:
550:
546:
545:Richard Serra
542:
538:
533:
528:
523:
519:
518:Nam June Paik
515:
511:
510:George Kuchar
507:
503:
499:
493:
488:
479:
477:
473:
469:
466:'s cover of "
465:
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294:
291:
288:
286:Lynn Grossman
285:
283:
282:Joyce Wieland
280:
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185:
184:film theorist
181:
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158:
155:United States
152:
148:
144:
138:
124:
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99:
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91:
88:
87:Joyce Wieland
84:
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76:
73:
69:
65:
61:
58:
55:
51:
47:
41:
36:
31:
19:
2640:
2632:
2624:
2616:
2609:
2608:
2598:Michael Snow
2555:
2544:
2533:
2522:
2514:
2487:. Berkeley:
2484:
2461:
2438:
2420:
2408:
2385:
2362:
2336:
2318:Michael Snow
2317:
2294:
2279:
2258:
2244:
2237:Bibliography
2222:
2210:
2198:
2173:
2167:
2163:
2157:
2145:
2138:O'Brien 2023
2133:
2116:
2110:
2104:
2095:
2085:
2060:
2054:
2048:
2029:
2017:. Retrieved
2011:
2004:Hoberman, J.
1983:. Retrieved
1977:
1967:
1953:
1941:. Retrieved
1937:the original
1927:
1915:. Retrieved
1902:
1877:
1871:
1867:
1837:
1828:
1819:Film Culture
1817:
1811:
1802:Film Culture
1800:
1791:
1779:
1767:
1758:Film Culture
1756:
1732:
1707:
1701:
1695:
1683:
1671:. Retrieved
1664:
1654:
1643:
1622:. Retrieved
1616:
1606:
1581:
1575:
1566:
1554:
1542:
1517:
1511:
1483:
1477:
1471:
1459:. Retrieved
1452:
1427:. Retrieved
1419:
1397:
1391:
1379:
1368:
1362:
1353:Film Culture
1351:
1333:Film Culture
1331:
1310:. Retrieved
1303:
1276:. Retrieved
1269:Reverse Shot
1268:
1265:"Wavelength"
1258:
1246:
1234:. Retrieved
1228:
1218:
1209:Film Culture
1207:
1200:Mekas, Jonas
1162:
1150:. Retrieved
1144:
1134:
1122:
1110:
1091:
1087:
1066:
1054:
1043:
1034:
1022:
1017:, p. 8.
1010:
998:
986:
978:
973:
965:"Trust Blog"
959:
947:
935:
923:
901:(1): 34–37.
898:
892:
886:
865:
861:
853:
845:
841:
831:
827:
817:
805:
804:
798:
794:
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783:
779:
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771:
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759:
751:
750:
734:
728:
720:
719:
711:
705:
703:
690:
678:
670:
666:
660:
656:Film Culture
654:
646:
644:
634:
630:
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624:
619:
608:
594:
592:
575:
573:
559:
555:
553:
536:
534:
497:
496:
491:
457:
438:
402:
391:Because the
390:
382:Canal Street
379:
373:
369:
354:
351:
344:
338:
333:
309:
307:
293:Roswell Rudd
260:
243:
229:
226:Manny Farber
219:
196:
195:
180:Michael Snow
170:
169:
168:
141:Running time
118:Release date
104:Michael Snow
96:Michael Snow
79:Roswell Rudd
66:Michael Snow
57:Michael Snow
45:
1943:January 17,
1486:(1/2): 25.
952:Sitney 1979
940:Sitney 1979
928:Sitney 1979
842:Grand Opera
819:Four Organs
814:Steve Reich
772:Slidelength
761:<--->
756:J. Hoberman
723:is part of
706:Wavelength'
691:triumph of
653:, Belgium.
525: [
514:Jonas Mekas
400:zoom lens.
255:the Beatles
204:underground
53:Directed by
2665:1967 films
2659:Categories
2610:Wavelength
2545:Wavelength
2534:Wavelength
2523:Wavelength
2515:Wavelength
2227:Legge 2009
1868:Wavelength
1784:Heath 1981
1772:Heath 1981
1559:Legge 2009
1547:Legge 2009
1384:Legge 2009
1167:Legge 2009
1127:Legge 2009
1115:Legge 2009
1088:Wavelength
1071:Legge 2009
1059:Turim 1985
1027:Turim 1985
1015:Legge 2009
1003:Legge 2009
991:Legge 2009
878:References
862:Wavelength
854:Wavelength
846:Wavelength
828:Wavelength
810:minimalist
806:Wavelength
784:Wavelength
776:Wavelength
752:Wavelength
721:Wavelength
679:Wavelength
677:describes
667:Wavelength
647:Wavelength
635:Wavelength
631:Wavelength
620:Wavelength
599:sync sound
595:Wavelength
576:Wavelength
560:Wavelength
556:Wavelength
537:Wavelength
498:Wavelength
460:sync sound
435:Soundtrack
421:Agfachrome
417:Ektachrome
413:Kodachrome
405:film stock
386:Ken Jacobs
370:Wavelength
355:Wavelength
330:East River
310:Wavelength
299:Production
272:Amy Taubin
230:Wavelength
228:describes
197:Wavelength
174:is a 1967
171:Wavelength
145:45 minutes
83:Amy Taubin
63:Written by
46:Wavelength
33:Wavelength
2642:Cityscape
2176:: 58–59.
2119:(1): 25.
1737:Kunz 1979
1688:Wees 1992
1520:(4): 50.
1251:Kunz 1979
1090:Papers".
812:composer
695:cinema.'"
464:Joan Baez
449:Bell Labs
445:glissando
441:crescendo
397:zoom lens
314:wide shot
246:mullioned
208:art house
150:Countries
112:Ted Wolff
101:Edited by
2550:AllMovie
2437:(1979).
2361:(1992).
2341:Afterall
2268:, 1989.
2125:26386821
2077:26547719
1979:Notebook
1894:30132005
1666:Artforum
1618:Afterall
1492:20688481
1278:July 18,
570:Analysis
425:reversal
341:Broadway
334:Atlantic
318:close-up
240:Synopsis
234:composed
221:Artforum
212:Canadian
201:greatest
160:Language
109:Music by
71:Starring
2190:3397608
2169:October
2019:June 4,
1985:June 5,
1917:June 5,
1710:: 118.
1703:October
1673:June 5,
1624:June 5,
1577:October
1534:1210605
1461:June 5,
1457:: 19–26
1429:June 5,
1312:June 5,
1236:June 5,
1152:June 5,
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