Durational Metamorphosis

This chapter examines the phenomenological and aesthetic effects of “durational metamorphoses,” slow movements of incremental change that result in a sense of visual transformation, such as a sunrise or the shape-shifting of clouds. These movements have become hallmarks of “slow cinema” in the last twenty years, but also can be traced back to the non-narrative experiments of structural film such as Fogline (Gottheim, 1970) or the landscape films of James Benning (e.g., Ten Skies, 2004). By analyzing sequences featuring durational metamorphoses across narrative films and video installations such as Silent Light (Reygadas, 2007), The Locked Garden (Viola, 2000), and Cemetery of Splendor (Apichatpong, 2015), this chapter demonstrates how a phenomenology of durational metamorphoses can help rethink the discourse of cinematic slowness, which often treats slowness and stasis as occasions to retreat away from the perception of the screen and toward contemplation. Against this common understanding of slowness, this chapter argues that durational metamorphoses compel perceptual encounters with slowness as a form of movement, one that presents Bergsonian duration in visual form.

Environmental Resistance and Fatigue Behaviors of Epoxy/Nano-Boron Nitride Thermally Conductive Structural Film Adhesive Toughened by Polyphenoxy

The thermally conductive structural film adhesive not only carries large loads but also exhibits excellent heat-transfer performance, which has huge application prospects. Herein, a novel epoxy (Ep) thermally conductive structural film adhesive was prepared using polyphenoxy (PHO) as the toughening agent and film former, boron nitride (BN) nanosheets as the thermally conductive filler, and polyester fabric as the carrier. When the amount of PHO in the epoxy matrix was 30 phr and the content of nano-BN was 30 wt.% (Ep/PHO30/nBN30), the adhesive resin system showed good film-forming properties, thermal stability, and thermal conductivity. The glass transition temperature of Ep/PHO30/nBN30 was 215 °C, and the thermal conductivity was 209.5% higher than that of the pure epoxy resin. The Ep/PHO30/nBN30 film adhesive possessed excellent adhesion and peeling properties, and the double-lap shear strength at room temperature reached 36.69 MPa, which was 21.3% higher than that of pure epoxy resin. The double-lap shear strength reached 15.41 MPa at 150 °C, demonstrating excellent high temperature resistance. In addition, the Ep/PHO30/nBN30 film adhesive exhibited excellent heat-aging resistance, humidity, and medium resistance, and the shear strength retention rate after exposure to the complicated environment reached more than 90%. The structural film adhesive prepared showed excellent fatigue resistance in the dynamic load fatigue test, the double-lap shear strength still reached 35.55 MPa after 1,000,000 fatigue cycles, and the strength retention rate was 96.9%, showing excellent durability and fatigue resistance.

Philosophizing through the Moving Image

This chapter defends the possibility of some motion pictures doing philosophy on the grounds that some motion pictures have already done so, including Enie Gehr’s Serene Velocity. Special attention is paid to the avant-garde genre of what the author calls “Minimal Film” (a.k.a. “Structural Film”) and the way in which that arena of practice makes philosophical discourse via the moving image possible.

Codes of the North: difficulty in the origins of the Canadian avant-garde film

This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty. Such aesthetics enclose the various forms of avant-garde cinema, from the lyrical to the structural film, and signal work of an enduring radicalism. SImultaneously, this dissertation charts the origins of these artists, the circumstances that formed their aesthetic themes, and their maturation. In doing so, it attends to their individual origins and sources, and consequently, the individuation of their artistic activity. This research fills gaps in the literature of Canadian cinema by explicitly linking the origins of a Canadian avant-garde cinema to the forms of purposeful difficulty in modernism. Additionally, it offers new commentary on the idea of difficulty in art, and specifically, the resonances of difficult modern art in vanguard cinema. This study champions progressive poetic form in avant-garde cinema, identifying aesthetic strategies that have analogues in other art forms such as music, painting and poetry.

Codes of the North: difficulty in the origins of the Canadian avant-garde film

This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty. Such aesthetics enclose the various forms of avant-garde cinema, from the lyrical to the structural film, and signal work of an enduring radicalism. SImultaneously, this dissertation charts the origins of these artists, the circumstances that formed their aesthetic themes, and their maturation. In doing so, it attends to their individual origins and sources, and consequently, the individuation of their artistic activity. This research fills gaps in the literature of Canadian cinema by explicitly linking the origins of a Canadian avant-garde cinema to the forms of purposeful difficulty in modernism. Additionally, it offers new commentary on the idea of difficulty in art, and specifically, the resonances of difficult modern art in vanguard cinema. This study champions progressive poetic form in avant-garde cinema, identifying aesthetic strategies that have analogues in other art forms such as music, painting and poetry.