While structural film was the dominant form within the avant-garde tradition at the dawn of the 1970s, animators used shape and structure in a variety of ways that differentiated their works. Robert Russett composed geometric patterns and colour sequences in complex rhythms to create his pulsing, abstract films. Paul Glabicki created incisive, analytical works that explored objects through image, language, form and movement, drafting stunningly complicated sequences by hand. Barry Spinello’s films are also hand-drawn but more impressionistic, with blobs of colour flashing by to the rhythm of a primitive, handmade optical soundtrack. With Saugus Series, Pat O’Neill created several chapters of complex, layered imagery that was ‘animated’ through physical processes of composition such as optical printing, hand-drawn shapes and composites.
- Bruce Conner, Ten Second Film (USA 1966, 16mm, black and white, silent, 1 min). Print courtesy the Conner Family Trust and Kohn Gallery, © Conner Family Trust
- Peter Rose, Incantation (USA 1970, 16mm, colour, sound, 8 min). Print preserved by the Academy Film Archive, courtesy the artist
- Paul Glabicki, Object Conversation (USA 1985, 16mm, colour, sound, 10 min). Print courtesy Canyon Cinema
- Robert Russett, Primary Stimulus (USA 1980, 16mm, colour, sound, 8 min). Print preserved by the Academy Film Archive
- Paul Glabicki, Diagram Film (USA 1978, 16mm, colour, sound, 14 min). Print courtesy Canyon Cinema
- Robert Russett, Neuron (USA 1972, 16mm, colour, sound, 7 min). Print presered by the Academy Film Archive
- Barry Spinello, Colored Relations (USA 1970, 16mm, colour, sound, 5 min). Print courtesy Canyon Cinema
- Pat O’Neill, Saugus Series (USA 1974, 16mm, colour, sound, 18 min). Print courtesy Canyon Cinema
Please note that this programme contains stroboscopic images.