If constitutive rhythm manifests itself in the inner pulse of the content, then structural rhythm, or ‘the rhythm of rhythms’ (Alvarez, 1989, p. 221), refers to the distribution and pacing of that content within the formal framework — the aspect concerned with presenting it to the outer world and ensuring the strongest possible response to it. Structural rhythm is concerned with questions of how: how are different formal units organized; how are their relationships defined; and how do they create a dynamic structure? In order to illuminate the relevance of these questions and the comparative qualities of the answers regarding both music and film, this chapter will explore the methods involved in the creation of rhythmic form and the similarities between their use in music and film. I will focus particularly on repetition and patterning as the most basic and simultaneously most efficient methods of establishing rhythmic form in both arts because their significance stretches beyond formal issues of structuring, affecting questions concerning the emotional power of art, aesthetics and ideology.