Experimental film
Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working.[1] Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry,[2] or arise from research and development of new technical resources.[3]
While some experimental films have been distributed through mainstream channels or even made within commercial studios, the vast majority have been produced on very low budgets with a minimal crew or a single person and are either self-financed or supported through small grants.[4]
Experimental filmmakers generally begin as amateurs, and some use experimental films as a springboard into commercial film-making or transition into academic positions. The aim of experimental filmmaking may be to render the personal vision of an artist, or to promote interest in new technology rather than to entertain or to generate revenue, as is the case with commercial films.[5]
Definition
The term experimental film describes a range of filmmaking styles that frequently differ from, and are often opposed to, the practices of mainstream commercial and documentary filmmaking. Avant-garde is also used, for the films of the sort shot in the twenties in France, Germany or Russia, to describe this work, and "underground" was used in the sixties, though it has also had other connotations. Today the term "experimental cinema" prevails, because it's possible to make experimental films without the presence of any avant-garde movement in the cultural field.
While "experimental" covers a wide range of practice, an experimental film is often characterized by the absence of linear narrative, the use of various abstracting techniques—out-of-focus, painting or scratching on film, rapid editing—the use of asynchronous (non-diegetic) sound or even the absence of any sound track. The goal is often to place the viewer in a more active and more thoughtful relationship to the film. At least through the 1960s, and to some extent after, many experimental films took an oppositional stance toward mainstream culture.
Most experimental films are made on very low budgets, self-financed or financed through small grants, with a minimal crew or, often a crew of only one person, the filmmaker. Some critics have argued that much experimental film is no longer in fact "experimental" but has in fact become a mainstream film genre.[6] Many of its more typical features—such as a non-narrative, impressionistic, or poetic approaches to the film's construction—define what is generally understood to be "experimental".[7]
History of the European avant-garde
Beginnings
In the 1920s, two conditions made Europe ready for the emergence of experimental film. First, the cinema matured as a medium, and highbrow resistance to the mass entertainment began to wane. Second, avant-garde movements in the visual arts flourished. The Dadaists and Surrealists in particular took to cinema. René Clair's Entr'acte (1924) featuring Francis Picabia, Marcel Duchamp, and Man Ray, and with music by Erik Satie, took madcap comedy into nonsequitur.
Artists
(1926).One famous experimental film is
France
Working in France, another group of filmmakers also financed films through patronage and distributed them through cine-clubs, yet they were narrative films not tied to an avant-garde school. Film scholar
In 1952, the
Soviet Union
The Soviet filmmakers, too, found a counterpart to modernist painting and photography in their theories of montage. The films of Dziga Vertov, Sergei Eisenstein, Lev Kuleshov, Alexander Dovzhenko, and Vsevolod Pudovkin were instrumental in providing an alternative model from that offered by classical Hollywood. While not experimental films per se, they contributed to the film language of the avant-garde.[10]
Italy
Italy had a historically difficult relationship with its avant-garde scene, although, the birth of cinema coincided with the emerging of Italian Futurism.[11]
Potentially the new medium of cinema was a perfect match for the concerns of futurism, a renowned for promoting new aesthetics, motion, and modes of perception. Especially, given the futurist fascination with the sensation of speed and the dynamism of modern life. However, what is left of futurist cinema is mostly on paper, many films very lost, and other never got made. Amongst those literatures it is worth noting The Futurist Cinema (Marinetti et al., 1916), Technical Manifesto of Futurist Literature (1912), The Variety Theatre (1913), The Futurist Synthetic Theatre (1915), and The New Religion – Morality of Speed (1916).[12] Perhaps, the futurists were amongst the first avant-garde filmmakers group devoted to the potential of the image, praising motion and aiming towards an anti-narrative aesthetic.[13] As an example, Marinetti's quote:
"The cinema is an autonomous art. The cinema must therefore never copy the stage. The cinema, being essentially visual, must above all fulfil the evolution of painting, detach itself from reality, from photography, from the graceful and solemn..."[14]
As exemplified in the quote, the image is the real subject, not the story or the acting, an approach and attitude that remain true for the whole history of experimental filmmaking.
Anton Giulio Bragaglia is undoubtedly the most known filmmaker from the futurist movement.
Prewar and postwar American avant-garde: the birth of experimental cinema
The United States had some avant-garde films before
In Rochester, New York, medical doctor and philanthropist James Sibley Watson and Melville Webber directed The Fall of the House of Usher (1928) and Lot in Sodom (1933). Harry Smith, Mary Ellen Bute, artist Joseph Cornell, and Christopher Young made several European-influenced experimental films. Smith and Bute were both influenced by Oskar Fischinger, as were many avant garde animators and filmmakers. In 1930, the magazine Experimental Cinema appeared.[17] The editors were Lewis Jacobs and David Platt. In October 2005, a large collection of films of that period were restored and re-released on DVD, titled Unseen Cinema: Early American Avant Garde Film 1894-1941.[18]
With Slavko Vorkapich,
Meshes of the Afternoon (1943) by Maya Deren and Alexander Hammid is an early American experimental film. It provided a model for self-financed 16 mm production and distribution, one that was soon picked up by Cinema 16 and other film societies. Just as importantly, it established an aesthetic model of what experimental cinema could do. Meshes had a dream-like feel that hearkened to Jean Cocteau and the Surrealists, but equally seemed personal, new and American. Early works by Kenneth Anger, Stan Brakhage, Shirley Clarke, Gregory Markopoulos, Jonas Mekas, Willard Maas, Marie Menken, Curtis Harrington, Sidney Peterson, Lionel Rogosin, and Earle M. Pilgrim followed in a similar vein. Significantly, many of these filmmakers were the first students from the pioneering university film programs established in Los Angeles and New York. In 1946, Frank Stauffacher started the "Art in Cinema" series of experimental films at the San Francisco Museum of Modern Art, where Oskar Fischinger's films were featured in several special programs, influencing artists such as Jordan Belson and Harry Smith to make experimental animation.
They set up "alternative film programs" at Black Mountain College (now defunct) and the San Francisco Art Institute. Arthur Penn taught at Black Mountain College, which points out the popular misconception in both the art world and Hollywood that the avant-garde and the commercial never meet. Another challenge to that misconception is that late in life, after their Hollywood careers had ended, both Nicholas Ray and King Vidor made avant-garde films.
Film theorist P. Adams Sitney offers a concept of "visionary film", and he invented a few genre categories, including the mythopoetic film, the structural film, the trance film and the participatory film, in order to describe the historical morphology of experimental cinema in the American avant-garde from 1943 to the 2000s.[19]
The New American Cinema and structural film
The film society and self-financing model continued over the next two decades, but by the early 1960s, a different outlook became perceptible in the work of American avant-garde filmmakers. Filmmakers like
Some avant-garde filmmakers moved further away from narrative. Whereas the New American Cinema was marked by an oblique take on narrative, one based on abstraction, camp and minimalism, structural filmmakers like Frampton and Snow created a highly formalist cinema that foregrounded the medium itself: the frame, projection, and most importantly, time. It has been argued that by breaking film down into bare components, they sought to create an anti-illusionist cinema, although Frampton's late works owe a huge debt to the photography of Edward Weston, Paul Strand, and others, and in fact celebrate illusion. Further, while many filmmakers began making rather academic "structural films" following Film Culture's publication of an article by P. Adams Sitney in the late 1960s, many of the filmmakers named in the article objected to the term.
A critical review of the structuralists appeared in a 2000 edition of the art journal Art in America. It examined structural-formalism as a conservative philosophy of filmmaking.
The 1960–70s and today: Time arts in the conceptual art landscape
In the 1970s,
Feminist avant-garde and other political offshoots
In the 1980s feminist, gay and other political experimental work continued, with filmmakers like Barbara Hammer, Su Friedrich, Tracey Moffatt, Sadie Benning and Isaac Julien among others finding experimental format conducive to their questions about identity politics.
The
Experimental film in universities
With very few exceptions,
Many experimental-film practitioners do not in fact possess college degrees themselves, although their showings are prestigious. Some have questioned the status of the films made in the academy, but longtime film professors such as Stan Brakhage, Ken Jacobs, Ernie Gehr, and many others, continued to refine and expand their practice while teaching. The inclusion of experimental film in film courses and standard film histories, however, has made the work more widely known and more accessible.
Exhibition and distribution
Beginning in 1946, Frank Stauffacher ran the "Art in Cinema" program of experimental and avant-garde films at the San Francisco Museum of Modern Art.
From 1949 to 1975, the Festival international du cinéma expérimental de Knokke-le-Zoute—located in Knokke-Heist, Belgium—was the most prominent festival of experimental cinema in the world. It permits the discovery of American avant-garde in 1958 with Brakhage's films and many others European and American filmmakers.
From 1947 to 1963, the New York-based Cinema 16 functioned as the primary exhibitor and distributor of experimental film in the United States. Under the leadership of Amos Vogel and Marcia Vogel, Cinema 16 flourished as a nonprofit membership society committed to the exhibition of documentary, avant-garde, scientific, educational, and performance films to ever-increasing audiences.[21]
In 1962, Jonas Mekas and about 20 other film makers founded The Film-Makers' Cooperative in New York City. Soon similar artists cooperatives were formed in other places: Canyon Cinema in San Francisco, the London Film-Makers' Co-op, and Canadian Filmmakers Distribution Center.
Following the model of Cinema 16, experimental films have been exhibited mainly outside of commercial theaters in small
Several other organizations, in both Europe and North America, helped develop experimental film. These included Anthology Film Archives in New York City, The Millennium Film Workshop, the British Film Institute in London, the National Film Board of Canada and the Collective for Living Cinema.
Some of the more popular film festivals, such as Ann Arbor Film Festival, the New York Film Festival's "Views from the Avant-Garde" Side Bar, the International Film Festival Rotterdam, and Media City Film Festival[23] prominently feature experimental works.
The New York Underground Film Festival, Chicago Underground Film Festival, the LA Freewaves Experimental Media Arts Festival, MIX NYC the New York Experimental Lesbian and Gay Film Festival, and Toronto's Images Festival also support this work and provide venues for films which would not otherwise be seen. There is some dispute about whether "underground" and "avant-garde" truly mean the same thing and if challenging non-traditional cinema and fine arts cinema are actually fundamentally related.[24]
Venues such as
All these associations and movements have permitted the birth and development of national experimental films and schools like "body cinema" ("Écoles du corps" or "Cinéma corporel") and "post-structural" movements in France, and "structural/materialism" in England for example.[25]
Influences on mainstream commercial media
Though experimental film is known to a relatively small number of practitioners, academics and connoisseurs, it has influenced and continues to influence cinematography, visual effects and editing.[26]
Experimental film reached mainstream audiences at world exhibitions, especially those in Montreal, Expo 67,[27] and Osaka, Expo 70.[28]
The genre of
Many experimental filmmakers have also made feature films, and vice versa.[33]
See also
- Abstract animation
- Abstract art
- Art film
- Collage film
- Cinéma pur
- Extreme cinema
- List of film formats
- Lists of avant-garde films
- Filmbank
- Microcinema
- Modernist film
- New media art
- Non-narrative film
- Performance art
- Remodernist film
- Slow cinema
- Still image film
Notes
- ^ Maria Pramaggiore and Tom Wallis, Film: A Critical Introduction, Laurence King Publishing, London, 2005, pg. 247
- ^ Laura Marcus, The Tenth Muse: Writing about Cinema in the Modernist Period, Oxford University Press, New York 2007
- ^ * Gene Youngblood, Expanded Cinema (Dutton, 1970) available as pdf at Ubuweb
- ^ "Top 10 Experimental Films - Toptenz.net". 19 January 2011.
- ^ MoMA-Experimentation in Film-The Avant-Garde
- ^ GreenCine | Experimental/Avant-Garde Archived 2005-12-10 at the Wayback Machine
- ^ "Experimental Film - married, show, name, cinema, scene, book, story, documentary".
- ^ BFI Screenonline:20s-30s Avant-Garde
- JSTOR j.ctt5hhcg7.
- ^ A (Very Brief) History of Experimental Cinema-No Film School
- ^ "Necsus | Futurist Cinema / Cubism and Futurism". necsus-ejms.org. 27 May 2020. Retrieved 2022-10-16.
- ^ English translations of the above are available, for example, in Futurists Manifestos edited by U. Apollonio (2009) or Marinetti's Selected Writings (1977)
- ^ Aiken, E. 'The Cinema and Italian Futurist painting', Art Journal, Vol. 41, No. 4 (Futurism), 1981: 353-357.
- ^ Marinetti, Balla, et al., The Futurist Cinema, in Marinetti: Selected Writings, ed. Flint, p. 131. Original quotation: "II cinematografo e un'arte a se. Il cinematografo non deve dunque mai copiare il palcoscenico. II cinematografo, essendo essenzialmente visivo, deve compiere anzitutto l'evoluzione della pittura: distaccarsi dalla realta, dalla fotografia, dal grazioso e dal solenne."
- ^ "Douglass Crockwell, Alphabet of Illustrators, Chris Mullen Collection".
- ^ "Hollywood Quarterly".
- ^ "Experimental Cinema". Internet Archive. June 1930. Retrieved 31 March 2021.
- ^ "Interview with Bruce Posner, the curator". Archived from the original on 2010-03-05.
- ^
Sitney, P. Adams (1974). Visionary Film - The American Avant-Garde 1943-2000 (3rd ed.). New York, New York: Oxford University Press. p. 479. ISBN 0-19-514885-1.
- Praeger Publishing.
- ^ Amos Vogel, Founder of the New York Film Festival and Cinema 16, Dies at 91|IndieWire
- ^ The Avant-Garde Archive Online-Film Quarterly
- ^ "Media City Film Festival". Media City Film Festival. Retrieved 2021-03-08.
- ^ Naming, and Defining, Avant-Garde or Experimental Film-Fred Camper
- Centre Georges-Pompidou, 1979, p. 15.
- ^ Aesthetica Magazine - Artists' Films Take on Mainstream Cinema
- ^ "Cinema Expo 67 – an exploration of Expo 67's most ingenious screen experiments". cinemaexpo67.ca. Retrieved 2024-01-24.
- ^ Ross, Julian A. (January 2014). Beyond the frame: intermedia and expanded cinema in 1960-1970s Japan (phd thesis). University of Leeds.
- ^ Avant-garde influences the mainstream-Variety
- ^ "MTV Aesthetics" at the Movies: Interrogating a Film Criticism Fallacy
- ^ Motion Graphic Design: Applied History and Aesthetics-Jon Krasner-Google Books
- ^ TV by Design: Modern Art and the Rise of Network Television-Lynn Spigel-Google Books
- ^ Aesthetica Magazine - Artists' Films Take on Mainstream Cinema
References
- A. L. Rees, A History of Experimental Film and Video (British Film Institute, 1999).
- Malcolm Le Grice, Abstract Film and Beyond (MIT Press, 1977).
- Scott MacDonald, A Critical Cinema, Volumes 1, 2, 3, 4 and 5 (Berkeley: University of California Press, 1988, 1992, 1998, 2005, and 2006).
- Scott MacDonald, Avant-Garde Film: Motion Studies (Cambridge: Cambridge University Press, 1993).
- Holly Rogers, Sounding the Gallery: Video and the Rise of Art-Music (Oxford: Oxford University Press, 2013).
- Holly Rogers and Jeremy Barham, the Music and Sound of Experimental Film (Oxford: Oxford University Press, 2017).
- James Peterson, Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema (Detroit: Wayne State University Press, 1994).
- Jack Sargeant, Naked Lens: Beat Cinema (Creation, 1997).
- P. Adams Sitney, Visionary Film: The American Avant-Garde (New York: Oxford University Press, 1974).
- Michael O'Pray, Avant-Garde Film: Forms, Themes and Passions (London: Wallflower Press, 2003).
- David Curtis (ed.), A Directory of British Film and Video Artists (Arts Council, 1999).
- David Curtis, Experimental Cinema – A Fifty Year Evolution (London. Studio Vista. 1971)
- Wheeler Winston Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema (Albany, NY: State University of New York Press, 1997)
- Wheeler Winston Dixon and Gwendolyn Audrey Foster (eds.) Experimental Cinema – The Film Reader (London: Routledge, 2002)
- Stan Brakhage, Film at Wit's End - Essays on American Independent Filmmakers (Edinburgh: Polygon. 1989)
- Stan Brakhage, Essential Brakhage - Selected Writings on Filmmaking (New York: McPherson. 2001)
- Parker Tyler, Underground Film: A Critical History (New York: Grove Press, 1969)
- Jeffrey Skoller Shadows, Specters, Shards: Making History in Avant-Garde Film (Minneapolis: Minnesota UP, 2005)
- Jackie Hatfield, Experimental Film and Video (John Libbey Publishing, 2006; distributed in North America by Indiana University Press)
- Gene Youngblood, Expanded Cinema (Dutton, 1970) available as pdf at Ubuweb
- ISBN 978-2-912539-41-0, in French) Paris Expérimental
- Al Rees, David Curtis, Duncan White, Stephen Ball, Editors,Expanded Cinema: Art, Performance and Film, (Tate Publishing, 2011)
- Chris Meigh-Andrews, A History of Video Art(Bloomsbury Publishing, 2014)
- Rachel Simpson, Avant-Garde Video Art: How Experimental Filmmakers Create Immersive Experiences That Transcend Generic Cinema (2018)
External links
- 20 Essential Films For An Introduction To Avant-Garde Cinema on Taste of Cinema