Editing Serene Velocity (section)

==Reception and legacy==
''Serene Velocity'' received a positive reaction from many of Gehr's contemporaries, including [[Ken Jacobs]], [[Michael Snow]], [[Hollis Frampton]], [[Richard Foreman]], [[Steve Reich]], and [[Andrew Noren]]. However, the film received little coverage from the press upon its 1970 release, save for a mention by [[Jonas Mekas]].<ref>MacDonald 2005, pp. 378–379.</ref> In 1972, Bob Cowan wrote in his column for ''[[Take One (Canadian magazine)|Take One]]'' that ''Serene Velocity'' was "one of the few really unique films I have seen during the last few years…It is rare that a film, which on the surface seems to be only a technical tour-de-force, can lift one to such emotional heights as it develops from surprise to surprise."<ref name="cowan-take-one"/> ''Serene Velocity'' cemented Gehr's reputation as a [[structural film]]maker. He demurred to the term, stating "I don't know what that word really means–[Labels] stop people from actually seeing, actually experiencing the work."<ref name="mekas-film-culture"/>

''Serene Velocity'' is part of [[Anthology Film Archives]]' Essential Cinema Repertory collection.<ref>{{cite web |url=http://anthologyfilmarchives.org/about/essential-cinema |title=Essential Cinema |publisher=[[Anthology Film Archives]] |access-date=June 1, 2022}}</ref> In 2001, the United States [[Library of Congress]] named the film "culturally significant" and entered it into the [[National Film Registry]].<ref>{{cite web |url=https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/ |title=Complete National Film Registry Listing |publisher=[[Library of Congress]] |access-date=September 10, 2017}}</ref> The film was preserved in 2006 by [[The Museum of Modern Art]], which enlarged the original [[16 mm]] print to [[35mm movie film|35 mm]].<ref>{{cite web |url=http://www.moma.org/collection/works/107462 |title=Ernie Gehr. ''Serene Velocity''. 1970 |publisher=[[Museum of Modern Art]] |access-date=September 10, 2017}}</ref><ref>{{cite web |url=http://hcl.harvard.edu/hfa/films/2008janfeb/gehr.html |title=Ernie Gehr's Marvelous Cinema |publisher=[[Harvard Film Archive]] |access-date=September 10, 2017}}</ref>

Director [[Laura Poitras]] began making films while taking a course that Gehr taught at the [[San Francisco Art Institute]]. The first film Gehr screened was ''Serene Velocity'', and Poitras has identified it as an influence on her work.<ref>MacDonald 2015, pp. 237–238.</ref> For their 2008 short film ''Lossless #4'', Rebecca Baron and Douglas Goodwin used a digital reproduction of ''Serene Velocity'' as source material. They fed it through a [[motion estimation]] algorithm to create a vector representation of the apparent motion in the film.<ref>Baron and Goodwin, pp. 72–74.</ref> In the 2012 [[Sight & Sound#The Sight & Sound Poll of the Greatest Films of All Time|''Sight & Sound'' Poll of the Greatest Films of All Time]], Noël Carroll listed ''Serene Velocity'' in his submission.<ref>{{cite web |url=http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/242 |archive-url=https://web.archive.org/web/20160512073202/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/242 |url-status=dead |archive-date=May 12, 2016 |title=Noel Carroll |year=2012 |publisher=[[British Film Institute]] |access-date=September 10, 2017}}</ref>