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Wavelength (1967 film)
''Wavelength'' is a 45-minute film that made the reputation of Canadian experimental filmmaker and artist Michael Snow. Considered a landmark of avant-garde cinema,〔"Few filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow, whose Wavelength is probably the most frequently discussed 'structural' film." Scott MacDonald, "So Is This by Michael Snow" ''Film Quarterly'' Vol. 39, No. 1 (Autumn, 1985): 34.〕 it was filmed over one week in December 1966 and edited in 1967,〔P. Adams Sitney, ''Visionary Film: The American Avant-Garde 1943-1978.'' New York: Oxford University Press, 1979 p. 375〕 and is an example of what film theorist P. Adams Sitney describes as "structural film",〔Sitney pp. 368-397〕 calling Snow "the dean of structural filmmakers."〔Sitney p. 374〕 ''Wavelength'' is often listed as one of the greatest underground, art house and Canadian films ever made. It was named #85 in the 2001 ''Village Voice'' critics' list of the 100 Best Films of the 20th Century.〔http://www.filmsite.org/villvoice.html〕 The film has been designated and preserved as a masterwork by the Audio-Visual Preservation Trust of Canada.〔http://avtrust.ca/masterworks/2006/en_film_1.htm〕 In a 1969 review of the film published in ''Artforum'', Manny Farber describes ''Wavelength'' as "a pure, tough 45 minutes that may become ''The Birth of a Nation'' in Underground films, is a straightforward document of a room in which a dozen businesses have lived and gone bankrupt. For all of the film's sophistication (and it is overpowering for its time-space-sound inventions) it is a singularly unpadded, uncomplicated, deadly realistic way to film three walls, a ceiling and a floor... it is probably the most rigorously composed movie in existence."〔Reprinted in Manny Farber, ''Negative Space: Manny Farber on the Movies'', London: Studio Vista, 1971, p. 250〕
==Outline==
''Wavelength'' consists of almost no action, and what action does occur is largely elided. If the film could be said to have a conventional plot, this would presumably refer to the four "character" scenes. Snow's intent for the film was "a summation of my nervous system, religious inklings and aesthetic ideas," he said of the 45-minute-long zoom–which nonetheless contains edits–that incorporates in its time frame four human events, including a man's death.〔Robert Enright, "The Lord of Missed Rules: An Interview with Michael Snow" ''Border Crossings'' v. 26 no. 2 (May 2007): 22〕 In the first scene, a woman in a fur coat enters the room accompanied by two men carrying a bookshelf or cabinet. The woman instructs the men where to place this piece of furniture and they all leave. Later, the same woman returns with a female friend, they drink the beverages they brought, and listen to "Strawberry Fields Forever" on the radio. Long after they leave, what sounds like breaking glass is heard. At this point, a man (played by filmmaker Hollis Frampton) enters and inexplicably collapses on the floor. Later, the woman in the fur coat reappears and makes a phone call, speaking, with strange calm, about the dead man in her apartment whom she has never seen before.
In the end, one can hear what sound like police sirens, but could just as well be a part of the musical score, a distinct piece of minimalist music that pairs tones at random. These tones shift in frequency (and in "wavelength"), becoming higher-pitched as the camera analyzes the space of the anonymous apartment. What begins as a view of the full apartment zooms (the zoom is not precisely continuous as the camera does change angle slightly, noticeably near the very end) and changes focus slowly across the forty-five minutes, only to stop and come into perfect focus on a photograph of the sea on the wall.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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