Raban’s attempts to make cinematic representations of cubist space are discussed in terms of three films: Angles of Incidence (1973) Thames Barrier (1978) and Autumn Scenes (1979). By contrast, the two-screen Moonshine (1975) playfully challenges some of the tenets of structural film with a cheeky nod to illusionism. Dispensing entirely with the film camera, the picture and sound of the five-screen Wave Formations (1977) was made entirely on a film contact printer to complete the picture-as-sound experimentation started by Surface Tension (1974–6).