Philosophers have also begun to pay attention to a strand of avant-garde filmmaking known as structural films.  These films are analogues to minimalism in the other arts and thus give rise to the question of whether they are not actual experiments that seek to show necessary criteria for something being a film.  If this view is accepted, then these films—examples include The Flicker (1995) and Serene Velocity (1970)—could be seen as making a contribution to philosophy by identifying such putative necessary features of films. This view, while adopted by Nöel Carroll (See Carroll and Choi 2006; Thomas Wartenberg 2007), has also been criticized on similar grounds to those used to deny the philosophical potential of fiction films, namely that films cannot actually do the “hard work” of philosophy.