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Formal aspects of the film material -- frame lines, tape splices, dirt, fingerprints etc. -- have been claimed by some filmmakers as the only way to make film pure. Often these arguments for purity proceed from the basic idea that the material of film, the base which supports the emulsion, is the basic aspect of what film is. Such arguments are based on the idea that the projection is separate from the film, separable from the film. But when we consider what it is that makes our experience of film different from sculpture or painting, we realize that this experience is based around the projection of a film and its development within the duration of that projection.
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