Experimental Film

Experimental & Expanded

Film/Video

Experimental FilmExperimental Film• A film that rejects the conventions of mainstream movies A film that rejects the conventions of mainstream movies

and explores the possibilities of the medium itself.and explores the possibilities of the medium itself.

• Experimental films have been referred to as avant-garde, Experimental films have been referred to as avant-garde, underground, personal, or independentunderground, personal, or independent

• Arguably the most famous, important and discussed of Arguably the most famous, important and discussed of ALL experimental films is ALL experimental films is Luis Bunuel’sLuis Bunuel’s Un Chien Un Chien Andalou (An Andalusian Dog)Andalou (An Andalusian Dog)..

Experimental FilmExperimental Film• Experimental films are nonconformist and set

out to challenge the orthodox ideas about what films can show and how they show them¨ There are no set rules and therefore various styles of experimental film exist: they can express more personal experiences or feature more eccentric topics

• They can also test the limits of the medium itself by manipulating audiovisual elements in strange or novel ways

• Brakhage’s Dog Star Man (1961) - Consists of fast moving layers of colors, shapes, splotches that create a disorienting and unique experience.

• Warhol’s Eat (1963)¨ - Consists of a nearly 40 minute, high contrast shot of a man slowly eating, transcends the expectations of what a movie should be.

• Experimental films can use any type of footage. Many artists create found-footage films that re-contextualize previously existing material.

• Bodysong (2003) is a documentary about human life and the human condition directed by Simon Pummell. The entire film has no dialogue, and is set to a score composed by Jonny Greenwood (of Radiohead).

• The film is a montage of archive footage sourced from a century of cinema and television. It's structured primarily according to the chronological progress of the human body, but also includes a few well-chosen detours into sex, illness, conflict, religion, art and politics. In sum, it embraces both individual and species, physics and metaphysics, body and soul.

• Kenneth Anger’s Scorpio Rising(1963)• The extensive possibilities of experimental exemplified

by Kenneth Anger’s Scorpio Rising. Anger explores 60’s motorcycle culture using a combination of staged events with found content such as old photos, comic strips, and Nazi posters. Also syncs visual elements with rock and roll songs.¨ An observation of how the homoerotic side of motorcycle culture has ritualistic behaviours that can be compared to the rituals of fascism and Christianity. Also explores how people model themselves after images provided by the media.

Self-reflexive CinemaSelf-reflexive Cinema• A self-reflexive film may include a character A self-reflexive film may include a character

interrupting the story to speak to the camerainterrupting the story to speak to the camera

• This kind of cinema has generally been seen as This kind of cinema has generally been seen as consciously opposed to mainstream cinema’s consciously opposed to mainstream cinema’s realistic illusion, which hides processes and realistic illusion, which hides processes and conventions from immediate view (the Classical conventions from immediate view (the Classical Hollywood style of continuity editing does this).Hollywood style of continuity editing does this).

Other Characteristics…Other Characteristics…• Experimental films can be any length - Experimental films can be any length - 1min1min or or 8 hrs8 hrs

• They use a minimum of language; most prefer They use a minimum of language; most prefer visual visual imagesimages

• Such films rarely follow Such films rarely follow narrativenarrative

• Such films often draw attention to themselves or to Such films often draw attention to themselves or to the film medium. You may see the camera itself, the film medium. You may see the camera itself, choppy editing, numbered film frames, sprocket choppy editing, numbered film frames, sprocket holes, etc.holes, etc.

Stan BrakhageStan Brakhage• ““Everything we have been taught about art and the Everything we have been taught about art and the

world itself separates us from a profound, true vision world itself separates us from a profound, true vision of the world. We are straitjacketed by myriad of the world. We are straitjacketed by myriad conventions that prevent us from really seeing our conventions that prevent us from really seeing our world. So it is with filmmakers: the so-called rules of world. So it is with filmmakers: the so-called rules of good filmmaking that are so carefully followed by good filmmaking that are so carefully followed by commercial filmmakers prevent them from commercial filmmakers prevent them from expressing all but the most trite reformulations of the expressing all but the most trite reformulations of the same boy-meets-girl story.”same boy-meets-girl story.”

SurrealismSurrealism• A movement in 1920s and 1930s European art, A movement in 1920s and 1930s European art,

drama, literature and film in which an attempt was drama, literature and film in which an attempt was made to portray or interpret the workings of the made to portray or interpret the workings of the subconscious mind as manifested in dreams. subconscious mind as manifested in dreams. Surrealism is characterised by an irrational, non-Surrealism is characterised by an irrational, non-contextual arrangement of subjects.contextual arrangement of subjects.

• Surrealism lends itself to experimental films.Surrealism lends itself to experimental films.• It has had a great influence on music videos.It has had a great influence on music videos.

Important Experimental Important Experimental FilmmakersFilmmakers

• Luis BunuelLuis Bunuel• Maya DerenMaya Deren• Stan BrakhageStan Brakhage• Andy WarholAndy Warhol• Kenneth AngerKenneth Anger• Jan SvankmayerJan Svankmayer• Chris MarkerChris Marker

Abstract Form:¨There are various forms of Experimental Film, the abstract form organizes entire films around colours, shapes, sizes, and movements in the images. This is in contrast to other types of film (such as a documentary) in which these abstract elements may exist, but are “subordinate to the rhetorical purposes”

Abstract Form:Abstract films can seem completely random, but are often organized through theme and variation. An introductory section shows the base relationships the film will explore, and then other segments will show similar yet different kinds of relationships. Abstract films are usually dependent on building greater and greater distance from the introductory material, increasing the contrast of elements as time goes on.

Associational Form:¨ Definition: “A type of organisation in which the film’s parts are juxtaposed to suggest similarities, contrasts, concepts, emotions, and expressive qualities”

Associational Form:It’s impossible to define a conventional set of parts into which an associational film will fall. General principles are that images are grouped together in larger sets, use repeated motifs and content that invites interpretation; example = Koyaanisqatsi

Responses:

ConfusionBoredomShockLaughter

“The difficult and risky task of meeting and mastering the new—whether it be the settlement of new lands or the initiation of new ways of life—is not undertaken by the vanguard of society but by its rear. It is the misfits, failures, fugitives, outcasts and their like who are among the first to grapple with the new.”

Eric Hoffer (Philosopher)

“An avant-garde man is like an enemy inside a city he is bent on destroying, against which he rebels; for like any system of government, an established form of expression is also a form of oppression. The avant-garde man is the opponent of an existing system.”

Eugène Ionesco (Playwright)

“There is a certain kind of person who is so dominated by the desire to be loved for himself alone that he has constantly to test those around him by tiresome behavior; what he says and does must be admired, not because it is intrinsically admirable, but because it is his remark, his act. Does not this explain a good deal of avant-garde art?”

W.H.Auden (Author)

When studying approaches to Spectatorship and Experimental and Expanded Film/Video it is essential to consider your own experiences of film viewing and what you expect from film viewing itself.

Mainstream expectations always interfere with contrasting approaches to film construction and can lead to negative viewpoints. Experimental films, by their very nature, seek to subvert conventional expectations of film form and narrative. They tend to explore experiences and observations that can't be visualised by the more formal structures of  mainstream cinema. 

Whenever discussing experimental films an analysis must include the content of the film itself (the techniques employed) and the expectations involved in the experience of viewing each work.

The conditions of viewing must also be taken into consideration as every viewing can be defined as different due to its circumstances (a classroom environment being one).

When you respond in a group you may adopt the views of 'others' which may influence your own personal response.

A good response will:

• Take into account the technical elements of cinema construction

• Be aware of the themes of the film (an ability to construct meaning)

• Acknowledge that the film will challenge the spectator

• Discuss the techniques that the film employs

• Respond on a personal level

• Discuss an understanding or a lack of understanding

• Understand that confusion or boredom/lack of interest may be a response 

• Be able to recognise experimental approaches and debate the use of film techniques opposed to pre-determined ideas of more formal mainstream cinema.