Beginning in the late '60s, American avant-garde film achieved its intellectual apex with a congeries of practices later dubbed structuralist cinema. Filmmakers began to explore not only the material properties of film, but also the contours of consciousness. They eschewed Emersonian subjectivity in favor of a phenomenological investigation of perception and cognition, peppered with dry doses of Augustan wit. Unhinged from mere representation, the constellation of celluloid, projector, and light beam became a metaphor for the... More >>>