Experimental film

Experimental film, experimental cinema or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms and 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 used experimental films as a springboard into commercial film making or transitioned into academic positions. The aim of experimental filmmaking is usually 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 describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking. Avant-garde is also used, for the films shot in the twenties in the field of history's avant-gardes currents 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 such 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

Two conditions made Europe in the 1920s 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 Hans Richter, Jean Cocteau, Marcel Duchamp, Germaine Dulac, and Viking Eggeling all contributed Dadaist/Surrealist shorts. Fernand Léger, Dudley Murphy, and Man Ray created the film Ballet Mécanique (1924), sometimes described as Dadaist, Cubist, or Futurist. Duchamp created the abstract film Anémic Cinéma (1926).

Alberto Cavalcanti directed Rien que les heures (1926), Walter Ruttmann directed Berlin: Symphony of a Metropolis (1927), and Dziga Vertov filmed Man With a Movie Camera (1929), experimental "city symphonies" of Paris, Berlin, and Kiev, respectively.

The most famous experimental film is generally considered to be Luis Buñuel and Salvador Dalí's Un chien andalou (1929). Hans Richter's animated shorts, Oskar Fischinger's abstract films, and Len Lye's GPO films would be excellent examples of more abstract European avant-garde films. [8]

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 David Bordwell has dubbed these French Impressionists, and included Abel Gance, Jean Epstein, Marcel L'Herbier, and Dimitri Kirsanoff. These films combine narrative experimentation, rhythmic editing and camerawork, and an emphasis on character subjectivity. [9]


In 1952, the Lettrists avant-garde movement in France, caused riots at the Cannes Film Festival, when Isidore Isou's Traité de bave et d'éternité (also known as Venom and Eternity) was screened. After their criticism of Charlie Chaplin at the 1952 press conference in Paris for Chaplin's Limelight, there was a split within the movement. The Ultra-Lettrists continued to cause disruptions when they announced the death of cinema and showed their new hypergraphical techniques; the most notorious example is Guy Debord's Howlings in favor of de Sade (Hurlements en Faveur de Sade) from 1952.

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]

Prewar and postwar American avant-garde: the birth of experimental cinema

The U.S. had some avant-garde films before World War II, such as Manhatta (1921) by Charles Sheeler and Paul Strand, and The Life and Death of 9413: a Hollywood Extra (1928) by Slavko Vorkapich and Robert Florey. However, much pre-war experimental film culture consisted of artists working, often in isolation, on film projects. Painter Emlen Etting (1905–1993) directed dance films in the early 1930s that are considered experimental. Commercial artist (Saturday Evening Post) and illustrator Douglass Crockwell (1904–1968)[11] made animations with blobs of paint pressed between sheets of glass in his studio at Glens Falls, New York.[12]

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 appears the magazine Experimental Cinema with, for the first time, the two words directly connected without any space between them.[13] The editors were Lewis Jacobs and David Platt. In October 2005, a large collection of films of that time were restored and re-released on DVD, titled Unseen Cinema: Early American Avant Garde Film 1894-1941.[14]

With Slavko Vorkapich, John Hoffman made two visual tone poems, Moods of the Sea (aka Fingal's Cave, 1941) and Forest Murmurs (1947). The former film is set to Felix Mendelssohn's Hebrides Overture and was restored in 2004 by film preservation expert David Shepard.

Meshes of the Afternoon (1943) by Maya Deren and Alexander Hammid is considered by some to be one of the first important American experimental films. 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 the fact that late in life, after each's Hollywood careers had ended, both Nicholas Ray and King Vidor made avant-garde films.

The New American Cinema and Structural-Materialism

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. Artist Bruce Conner created early examples such as A Movie (1958) and Cosmic Ray (1962). As P. Adams Sitney has pointed out, in the work of Stan Brakhage and other American experimentalists of early period, film is used to express the individual consciousness of the maker, a cinematic equivalent of the first person in literature. Brakhage's Dog Star Man (1961–64) exemplified a shift from personal confessional to abstraction, and also evidenced a rejection of American mass culture of the time. On the other hand, Kenneth Anger added a rock sound track to his Scorpio Rising (1963) in what is sometimes said to be an anticipation of music videos, and included some camp commentary on Hollywood mythology. Jack Smith and Andy Warhol incorporated camp elements into their work, and Sitney posited Warhol's connection to structural film.

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-Materialist filmmakers like Hollis Frampton and Michael 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

Conceptual art in the 1970s pushed even further. Robert Smithson, a California-based artist, made several films about his earthworks and attached projects. Yoko Ono made conceptual films, the most notorious of which is Rape, which finds a woman and invades her life with cameras following her back to her apartment as she flees from the invasion. Around this time a new generation was entering the field, many of whom were students of the early avant-gardists. Leslie Thornton, Peggy Ahwesh, and Su Friedrich expanded upon the work of the structuralists, incorporating a broader range of content while maintaining a self-reflexive form.

Andy Warhol, the man behind Pop Art and a variety of other oral and art forms, made over 60 films throughout the 1960s, most of them experimental. In more recent years, filmmakers such as Craig Baldwin and James O'Brien (Hyperfutura) have made use of stock footage married to live action narratives in a form of mash-up cinema that has strong socio-political undertones.

Feminist avant-garde and other political offshoots

Laura Mulvey's writing and filmmaking launched a flourishing of feminist filmmaking based on the idea that conventional Hollywood narrative reinforced gender norms and a patriarchal gaze. Their response was to resist narrative in a way to show its fissures and inconsistencies. Chantal Akerman and Sally Potter are just two of the leading feminist filmmakers working in this mode in the 1970s. Video art emerged as a medium in this period, and feminists like Martha Rosler and Cecelia Condit took full advantage of it.

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 queercore movement gave rise to a number experimental queer filmmakers such as G.B. Jones (a founder of the movement) in the 1990s and later Scott Treleaven, among others.

Experimental Film and the Academy

With very few exceptions, Curtis Harrington among them, the artists involved in these early movements remained outside the mainstream commercial cinema and entertainment industry. A few taught occasionally, and then, starting in 1966, many became professors at universities such as the State Universities of New York, Bard College, California Institute of the Arts, the Massachusetts College of Art, University of Colorado at Boulder, and the San Francisco Art Institute.

Many of the practitioners of experimental film 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

Jonas Mekas
Lithuanian artist Jonas Mekas, regarded as godfather of American avant-garde cinema

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.

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 film societies, microcinemas, museums, art galleries, archives and film festivals. [15]

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 and the International Film Festival Rotterdam 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. [16]

Venues such as Anthology Film Archives, San Francisco Cinematheque, Pacific Film Archive in Berkeley, California, Tate Modern, London and the Centre Pompidou in Paris often include historically significant experimental films and contemporary works. Screening series no longer in New York that featured experimental work include the Robert Beck Memorial Cinema, Ocularis and the Collective for Living Cinema.

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.[17]

Influences on 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. [18]

The genre of music video can be seen as a commercialization of many techniques of experimental film. Title design and television advertising have also been influenced by experimental film. [19] [20] [21] [22]

Many experimental filmmakers have also made feature films, and vice versa. Notable examples include Chantal Akerman, Lars von Trier, Jørgen Leth, Alejandro Jodorowsky, Nikos Nikolaidis, Jean-Luc Godard, Steven Soderbergh, Kathryn Bigelow [23], Stanley Kubrick, Woody Allen [24], Curtis Harrington, Oscar-winning animator Richard Williams [25], Andy Warhol, Peter Greenaway, Derek Jarman, Harmony Korine, Jean Cocteau, Isaac Julien, British Oscar winner Steve McQueen, Sally Potter, David Lynch, Federico Fellini, Nagisa Oshima, Shuji Terayama, James O'Brien, Vassilis Mazomenos, Thierry Zéno, Patrick Bokanowski, Gus Van Sant, Shaun Wilson, Pier Paolo Pasolini, Nobuhiko Obayashi, Shinya Tsukamoto, Simone Rapisarda Casanova and Luis Buñuel, although the degree to which their feature filmmaking takes on mainstream commercial aesthetics differs widely.

See also

Notes

  1. ^ Maria Pramaggiore and Tom Wallis, Film: A Critical Introduction, Laurence King Publishing, London, 2005, pg. 247
  2. ^ Laura Marcus, The Tenth Muse: Writing about Cinema in the Modernist Period, Oxford University Press, New York 2007
  3. ^ * Gene Youngblood, Expanded Cinema (Dutton, 1970) available as pdf at Ubuweb
  4. ^ "Top 10 Experimental Films - Toptenz.net". 19 January 2011.
  5. ^ MoMA-Experimentaion in Film-The Avant-Garde
  6. ^ GreenCine | Experimental/Avant-Garde Archived 2005-12-10 at the Wayback Machine
  7. ^ "Experimental Film - married, show, name, cinema, scene, book, story, documentary".
  8. ^ BFI Screenonline:20s-30s Avant-Garde
  9. ^ Filming of Modern Life: European Avant-Garde Film of the 1920s on JSTOR
  10. ^ A (Very Brief) History of Experimental Cinema-No Film School
  11. ^ "Douglass Crockwell, Alphabet of Illustrators, Chris Mullen Collection".
  12. ^ "Hollywood Quarterly".
  13. ^ Cinema, Experimental; America, Cinema Crafters of; Amberg, George (1 January 1969). Platt, David; Jacobs, Lewis; Stern, Seymour; Braver-Mann, B. G. (eds.). "Experimental Cinema 1930-1934 Periodical". Arno – via Amazon.
  14. ^ "Interview with Bruce Posner, the curator". Archived from the original on 2010-03-05.
  15. ^ The Avant-Garde Archive Online-Film Quarterly
  16. ^ Naming, and Defining, Avant-Garde or Experimental Film-Fred Camper
  17. ^ Dominique Noguez, « Qu’est-ce que le cinéma expérimental ? », Éloge du cinéma expérimental, Paris, Centre Georges-Pompidou, 1979, p. 15.
  18. ^ The Good, The Bad and the Insulting: Mainstream Film vs. Avant Garde: More Similar Than We Think?
  19. ^ Avant garde influences the mainstream-Variety
  20. ^ “MTV Aesthetics” at the Movies: Interrogating a Film Criticism Fallacy
  21. ^ Motion Graphic Design: Applied History and Aesthetics-Jon Krasner-Google Books
  22. ^ TV by Design: Modern Art and the Rise of Network Television-Lynn Spigel-Google Books
  23. ^ Kathryn Bigelow: Interviews
  24. ^ ‘Annie Hall’ and Woody Allen’s Experimental Visual Film Style-Vulture
  25. ^ The Little Island (1958) – Richard Williams-lukeroberts.tv-Blog

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
  • Dominique Noguez, Éloge du cinéma expérimental (Paris Expérimental, 2010, 384 p. 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)

External links

Abstract animation

Abstract film is a subgenre of experimental film. Its history often overlaps with the concerns and history of visual music. Some of the earliest abstract motion pictures known to survive are those produced by a group of German artists working in the early 1920s, a movement referred to as Absolute Film: Walter Ruttmann, Hans Richter, Viking Eggeling, vincent and Oskar Fischinger. These artists present different approaches to abstraction-in-motion: as an analogue to music, or as the creation of an absolute language of form, a desire common to early abstract art. Ruttmann wrote of his film work as 'painting in time.' Walt Disney used abstract animation for his film Fantasia during the Toccata and Fugue in D Minor segment.

Abstract films are non-narrative visual/sound experiences with no story and no acting. They rely on the unique qualities of motion, rhythm, light and composition inherent in the technical medium of cinema to create emotional experiences.

Cinema of Transgression

The Cinema of Transgression is a term coined by Nick Zedd in 1985 to describe a New York City-based underground film movement, consisting of a loose-knit group of like-minded artists using shock value and humor in their work. Key players in this movement were Zedd, Kembra Pfahler, John Waters, Tessa Hughes-Freeland, Casandra Stark, Beth B, Tommy Turner, Richard Kern, and Lydia Lunch, who in the late 1970s and mid-1980s began to make very low-budget films using cheap 8 mm cameras.

Zedd outlined his philosophy on the Cinema of Transgression in "The Cinema of Transgression Manifesto", published under the name Orion Jeriko in the zine The Underground Film Bulletin (1984–90).Cinema of Transgression continues to heavily influence underground filmmakers. In 2000, the British Film Institute showed a retrospective of the movement's work introduced by those involved in the production of the original video films.In November 2001, reclusive British filmmaker Philip Goring passionately read the original manifesto written by Nick Zedd, from dawn to dusk, at Speakers' Corner, Hyde Park, London, a long-standing haven of free speech where many of the world's great thinkers and activists have addressed the public.

Collage film

Collage film is a style of film created by juxtaposing found footage from disparate sources. The term has also been applied to the physical collaging of materials onto film stock.

Cuadecuc, vampir

Vampir-Cuadecuc is a 1970 experimental feature film by Spanish filmmaker Pere Portabella.The entire film is photographed on high contrast black & white film stock, which gives it the appearance of a degraded film print, evoking early Expressionist horror films such as F. W. Murnau's Nosferatu or Carl Theodor Dreyer's Vampyr. It was shot on the set of Jesus Franco's Count Dracula, starring Christopher Lee and Herbert Lom. The sound track is by frequent Portabella collaborator Carles Santos, and the only spoken dialogue in the film appears only in the last scene, which features Lee reading from Bram Stoker's original novel.

Lee would appear in another Portabella film the same year--Umbracle.

The word "cuadecuc" is the Catalan word for "worm's tail." The term also refers to the unexposed footage at the end of a roll of film.

Jonathan Rosenbaum, a critic for the Chicago Reader, listed this film as the fourth best in 2006.The film tells an abbreviated version of the Dracula story using behind-the-scenes footage from Count Dracula. Thus, we see crew members and lights in dramatic scenes; often, these scenes are preceded by sequences where we see the set and actors being prepared. For example, before Dracula is shown rising from his coffin, Christopher Lee is seen getting made up and climbing into the coffin as a crew member covers him in fake spiderwebs. This gives the film a humorous tone: scenes meant to shock in Jesus Franco's original film are intercut with the actors making faces between takes and fooling around with the crew.

Drawn-on-film animation

Drawn-on-film animation, also known as direct animation or animation without camera, is an animation technique where footage is produced by creating the images directly on film stock, as opposed to any other form of animation where the images or objects are photographed frame by frame with an animation camera.

Experimental Film (song)

"Experimental Film" is a song by alternative rock band They Might Be Giants. It is the lead single from their 2004 album The Spine. The song has been seen by some critics as a return to the band's earlier sound. An animated music video was made for the song by internet animators The Brothers Chaps and featured the characters from the animators' internet series Homestar Runner.Though it saw no domestic release, "Experimental Film" was released promotionally in Great Britain. The disc included "Am I Awake?" and "Memo to Human Resources" as well as the single. The song was also released on a one-track promotional disc in Australia.

Film-poem

The film-poem (also called the poetic avant-garde film, verse-film or verse-documentary) is a label first applied to American avant-garde films released after World War II. During this time, the relationship between film and poetry was debated. James Peterson in Dreams of Chaos, Visions of Order said, "In practice, the film poem label was primarily an emblem of the avant-garde's difference from the commercial narrative film." Peterson reported that in the 1950s, overviews of avant-garde films "generally identified two genres: the film poem and the graphic cinema". By the 1990s, the avant-garde cinema encompassed the term "film-poem" in addition to different strains of filmmaking. Film-poems are considered "personal films" and are seen "as autonomous, standing apart from traditions and genres". They are "an open, unpredictable experience" due to eschewing extrinsic expectations based on commercial films. Peterson said, "The viewer's cycles of anticipation and satisfaction derive primarily from the film's intrinsic structure." The film-poems are personal as well as private: "Many film poems document intimate moments of the filmmaker's life."

Found footage (appropriation)

In filmmaking, found footage is the use of footage as a found object, appropriated for use in collage films, documentary films, mockumentary films and other works.

Kiss (1963 film)

Kiss is a 1963 silent American experimental film directed by Andy Warhol, which runs 50 minutes and features various couples—man and woman, woman and woman, man and man—kissing for 3½ minutes each. The film features Naomi Levine, Gerard Malanga, Rufus Collins, Johnny Dodd, and Ed Sanders.Kiss was followed by Eat (1963), Sleep (1963), Blow Job (1964) and Blue Movie (1969).

This was one of the first films Warhol made at The Factory in New York City.

List of Osamu Tezuka anime

This is a list of Osamu Tezuka's notable anime work in alphabetical order. This list of anime includes all those listed on Tezuka's official site as well as others that are directly based on his work, but not listed on the site yet. The English translations of the names used are from the original names found on the official Osamu Tezuka website.

National Film Registry

The National Film Registry (NFR) is the United States National Film Preservation Board's (NFPB) selection of films deserving of preservation. The NFPB, established by the National Film Preservation Act of 1988, was reauthorized by acts of Congress in 1992, 1996, 2005, and again in October 2008. The NFPB's mission, to which the NFR contributes, is to ensure the survival, conservation, and increased public availability of America's film heritage. The 1996 law also created the non-profit National Film Preservation Foundation which, although affiliated with the NFPB, raises money from the private sector.

New York Film Festival

The New York Film Festival (NYFF) is an annual film festival held every autumn in New York City, presented by the Film Society of Lincoln Center (FSLC). Founded in 1963 by Richard Roud and Amos Vogel with the support of Lincoln Center president William Schuman, it is one of the longest-running and most prestigious film festivals in the United States. The non-competitive festival is centered around a “Main Slate” of typically 20-30 feature films, with sidebars for experimental cinema and retrospectives, and recently introduced documentary and trans-media sections. Programming is led by a rotating Selection Committee, chaired by the Director of the New York Film Festival, with many committee members remaining from year to year. Separate committees and individuals program the short film, experimental, and trans-media sections.

Kent Jones has been the festival Director since 2013. As of 2018, the main Selection Committee included Jones (chair); Dennis Lim, FSLC Director of Programming; and Florence Almozini, FSLC Associate Director of Programming.The 56th New York Film Festival took place from September 28 to October 14, 2018.

No-budget film

A no-budget film is a film made with very little or no money.

Young directors starting out in filmmaking and several older ones commonly use this method because there are few other options available to them at that point. All the actors and technicians are employed in these films without remuneration. These films are largely non-profit. Usually the director works alone on such films, or uses a very small "crew" of volunteers to assist him/her on such projects, where no money or financing is available, not including the cost of equipments and software used in production and post-production.

No Wave Cinema

No wave cinema was an underground filmmaking movement that flourished on the Lower East Side of New York City from about 1976 to 1985. Sponsored by and associated with the artists group Collaborative Projects or "Collab", no wave cinema was a stripped-down style of guerrilla filmmaking that emphasized mood and texture above other concerns -- similar to the parallel no wave music movement.

Remodernist film

Remodernist film developed in the United States and the United Kingdom in the early 21st century with ideas related to those of the international art movement Stuckism and its manifesto, Remodernism. Key figures are Jesse Richards and Peter Rinaldi.

Self-Portrait (Yoko Ono film)

Self-Portrait is a 1969 film made by the artist Yoko Ono. The film consists of a single 42 minute shot of the semi erect penis of her husband, John Lennon.Ono said in a 1970 interview with the film critic Philip French that "the critics wouldn't touch it". French recalled in a 2009 article for The Observer that the screening for the press was held at a private cinema in Mayfair with Ono and Lennon present, and "Lasting some 40 minutes (it seemed like an eternity), it focused upon the unaided tumescence and detumescence of his member, reaching some sort of climax with a pearl-like drop of semen".The film was premiered at the Institute of Contemporary Arts ICA in London in 1969, alongside two other films, Rape and Folding. Ono's films Two Virgins, Smile and Honeymoon were also shown at the ICA on the same night.Ono attempted to film the critics' reaction to Self-Portrait at the Mayfair screening, to be used as part of a future split screen film with the critics' reactions shown alongside Lennon's penis, although the equipment used failed to record anything.Lennon later recalled the content of the film, saying that "My prick...that's all you saw. ...but it dribbled at the end. That was accidental. The idea was for it to rise and fall but it didn't".

Structural film

Structural film was an experimental film movement prominent in the United States in the 1960s and which developed into the Structural/materialist films in the United Kingdom in the 1970s.

Underground film

An underground film is a film that is out of the mainstream either in its style, genre, or financing.

Vinyl (1965 film)

Vinyl is a 1965 American black-and-white experimental film directed by Andy Warhol at The Factory. It is an early adaptation of Anthony Burgess' novel A Clockwork Orange, starring Gerard Malanga, Edie Sedgwick, Ondine, and Tosh Carillo, and featuring such songs as "Nowhere to Run" by Martha and the Vandellas, "Tired of Waiting for You" by The Kinks, "The Last Time" by The Rolling Stones and "Shout" by The Isley Brothers.

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