The filmmakers discussed in earlier chapters attempted to construct long-form works whose phenomenological intensity was tied to their status as integral temporal experiences that could open up new affective possibilities for the spectator. The mode of viewing required by these works contrasts starkly with the mobile spectatorship engendered by contemporary multimedia projects that attempt to apply the principles of the Gesamtkunstwerk within a multiroom gallery setting. It also differs significantly from the type of intermittent viewing engendered by more recent long-form works, which, made entirely with inexpensive digital equipment, are no longer conceived as continuous units and are instead intended to be viewed in pieces, with the audience members encouraged to come and go as they please. What is most important for the filmmakers studied in this book is a conception of art as mystery, as spiritual elevation, as something that, like a cathedral, could “protect time.”
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