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Transcript of Experimental Film
Absence of a linear narrative--usually lack a main story
Varied editing techniques
Manipulation of the actual physical film such as scratching or in some cases placing insects or other things on the film, painting on film, rapid cutting, etc.
Asynchronous (non-diegetic) sound or the absence of a sound track
Minimal crew and budget
Often take opposition to mainstream culture
Usually self-distributed Goal is typically to put the viewer into a metaphorical or philosophical place in relationship to the film's message and material. The abstraction allows the viewer to bring their own meanings to the concepts and material presented within the piece.
Music Video represents a commercialization of experimental film
It is argued that experimental film is no longer "experimental" because it has become it's own genre. This is probably true since we are studying it as a genre today.
MOVEMENTS European Avant-Garde
1920's - Cinema matures as a medium and avant-garde movements in the visual arts begin to flourish
Dadaists - anti-war polictics through rejection of art standarts. Ridicule the participants in the meaninglessness of the modern world.
Surrealists - Centrailized in Paris. Works feature the elements of surprise, unexpected juxtapositions
Jean Cocteau, Marcel Duchamp, Salvador Dali
Flourished in France and Russia
Lev Kuleshov Soviet filmmakers who all contributed new theories and experimental techniques that contributed to avant-garde film language. Postwar American Avant-garde Some experimental filmmakers in U.S. prior to WWII but really emerged after the war
Maya Deren "Meshes of the Afternoon" (1943)
First important American experimental film
Provided model for self-financed 16mm production and distribution
Created aesthetic model of what experimental cinema could do
Took the dream like nature of surrealists and gave it personal, American feel
Many of these filmmakers pioneered the first university film programs in LA and NY DAVID LYNCH The modern surrealist Known for his surrealist films, he has developed his own unique cinematic style, which has been dubbed "Lynchian", and which is characterized by its dream imagery and meticulous sound design. Indeed, the surreal and in many cases violent elements to his films have gained them the reputation that they "disturb, offend or mystify" their audiences
1977 1980 1986 Surrealist Dream-logic Narratives: The Directors: ⁃ Jean Cocteau
⁃ Sergei Eisenstein
⁃ Lev Kuleshov
⁃ Maya Deren
⁃ Stan Brakhage
⁃ David Lynch
⁃ Gus Van Sant
⁃ Kathryn Bigelow (1929) Stan Brakage, Ken Jacobs, Ernie Gehr