Response 7

4.
A. Sitney calls Warhol anti-Romantic, because Warhol defined his art as anti-romantic. Sitney’s concerns that he associated with the Romantic heritage of the American avant-garde film were the object of Warhol’s fierce indifference.
B. Sitney argues that spiritually the distance between Warhol and structural filmmakers such as Michael Snow or Ernie Gehr can’t be reconciled, because Michael snow utilized the tension of fixed frame and some flexibility of the fixed tripod in Wavelength, help make Snow the dean of structural films. Where as Warhol, came to avant garde cinema like no one else, he was fully developed artist as a painter, and then went to make film, by making his footage the central fact of his films he advertised the indifference of direction, photography, and lighting. Since Sitney argues Warhol is anti-romantic, he wouldn’t be a structural filmmaker since structural film is linked with romanticism.
C. The phrase “conscious ontology of the viewing experience” is the ontological difference between graphic, two-dimension modality and photographic naturalism, which is used as a metaphor for the relation of film itself. Relates to Warhol films from the side of photographic naturalism, which is found in many of Warhol films. On the structural films it realties to two-dimension modality.
D. Sitney argues that structural film is related to the psychodrama, mythopoeia, lyrical tradition because of the film forms used, Warhol stepped out of the different traditions of filming, and made his own tactics like just leaving the camera and walking away from it, and filming what ever happened to be in front of it.