Charles and Ray Eames Powers of Ten

'Powers of Ten takes us on an adventure in magnitudes. Starting at a picnic by the lakeside in Chicago, this famous film transports us to the outer edges of the universe. Every ten seconds we view the starting point from ten times farther out until our own galaxy is visible only as a speck of light among many others. Returning to Earth with breathtaking speed, we move inward- into the hand of the sleeping picnicker - with ten times more magnification every ten seconds. Our journey ends inside a proton of a carbon atom within a DNA molecule in a white blood cell. Powers of Ten is a 1968 American documentary short film written and directed by Ray Eames and her husband, Charles Eames, rereleased in 1977. The film depicts the relative scale of the Universe in factors of ten (see also logarithmic scale and order of magnitude). The film is an adaptation of the 1957 book Cosmic View by Kees Boeke, and more recently is the basis of a new book version. Both adaptations, film and book, follow the form of the Boeke original, adding color and photography to the black and white drawings employed by Boeke in his seminal work.' Powers of Ten web site

Nicky Hamlyn

A contemporary film maker working with structural film. He explores light, time, and filmic substance. “I try to make work that responds uniquely to the unique situation in which it is made. For situation, one can usually read "location". This approach stems from years of early training in observational drawing, but I am also influenced by the idea of films as the outcome of a set of interacting factors: light, objects, camera, lenses, film stock etc.” Nicky Hamlyn. An example of his work.

Tacita Dean

'Dean's work seeks connections between past and present, fact and fiction. She maps not just the objective world but also our private worlds and traces the complex interaction between the two. The depiction of different locations is matched by dislocations in space and time: real landscapes are layered with inner, psychic landscapes defined by our own desires and obsessions. Tate Britain Tacita Dean Recent films and other works The above image is from Fernsehturm 2001
16mm colour anamorphic film with optical sound. ‘This film is shot using an anamorphic lens, which like the old Cinema-scope format, extends the frame to over double its normal size. Filmed in the revolving restaurant of the television tower in Alexanderplatz in the former eastern part of Berlin, this film documents the metamorphosis that the restaurant undergoes with the setting of the sun and the coming of night. The nature of the space shifts from being about the exterior and the view, to becoming an interior social place with the windows in the end effective mirrors. The Fernsehturm has retained its political edge despite its consumption by tourism: with the advent of reunification, the speed of the rotation was doubled so one complete turn now takes half an hour whereas before it took an hour.’ Tacita Dean's work for The Unilever Series in the Turbine Hall at Tate Modern will be open on 11 October 2011. more here

Malcolm Le Grice

An experimental film maker. Berlin Horse is an example of his work.

Binh Danh

Binh Danh has developed a method of printing negatives using the chlorophyll in plants. The negative is placed over a leaf in the sun for a period of time fading the areas placed in the dark. web site.

Eleanor Suess

Eleanor Seuss is an architect and experimental film maker who also teaches. One minute structural films include acer

Acer from Eleanor Suess on Vimeo.

The following is a show reel of student films.

Studio 2.2 Lumiere Film Showreel from Eleanor Suess on Vimeo.

For more examples of her work use this linkhere.

Michael Snow

Michael Snow’s Wavelength is a classic structural film.

Erin Shirreff

'"Working online I oftentimes feel disconnected from my body," says Erin Shirreff, recounting the familiar experience of restlessly navigating virtual space. Half-engaged in a stream of weightless graphics and information, it’s easy to lose track of the screen’s physical parameters—and your own. Shirreff’s motivation for developing Shadow, Glare, however, stems from those moments when the screen’s material presence becomes impossible to ignore, when dust accumulations, errant smudges, and the movement of shadows and glares disturb the illusion of transparency. "In my living room the light will shift," Shirreff explains, "and suddenly I’ll be looking at all the dust on my computer screen, or the splotches of light. That will really jar me back into my chair." ' Shadow Glare site.