In Chapter 10, Sitney focuses on a number of artists who continue to work in the ironic mode, some creating powerful apocalyptic visions, including Christopher MacLaine's elliptical Beat narrative The End (1953, 35 mins, Color/B&W, Film-makers' Cooperative) and Bruce Conner's collage film Report (1963–1967, 13 mins, B&W, PFA Collection). Lawrence Jordan's picaresque Our Lady of the Sphere (1969, 10 mins, Color, PFA Collection) animates Victorian engravings into a dreamlike reverie; Blonde Cobra (1959–1963, 30 mins, B&W/Color, Film-makers' Cooperative), also ironical, is a disjointed sexual odyssey, edited by Ken Jacobs from footage of Jack Smith shot by Bob Fleishner. It is discussed in Chapter 11 in conjunction with the myth of recovered innocence. The structural film, says Sitney, is a cinema of the mind in which films have minimal content and encourage the viewer to grasp their structuring principles or shape. In Michael Snow's , the moving camera is a metaphor for consciousness, while Paul Sharits's flicker film Piece Mandala/End War (1966, 5 mins, B&W/Color, Canyon Cinema) aspires to induce a change of consciousness in the viewer. Owen Land's witty New Improved Institutional Quality, treated in Chapter 13, explores the status of the image.