Experimental film

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 shots in the twenties in the field of history’s avant-gardes currents in France or Germany, 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.[1] 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”.

Video art

Video art is named after the video tape, which was most commonly used in the form’s early years, but before that artists had already been working on film, and with changes in technology Hard Disk, CD-ROM, DVD, and solid state are superseding tape but the electronic video signal remains the carrier of moving image work. Despite obvious parallels and relationships, video art is not experimental film.

One of the key differences between video art and theatrical cinema is that video art does not necessarily rely on many of the conventions that define theatrical cinema. Video art may not employ the use of actors, may contain no dialogue, may have no discernible narrative or plot, or adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction is important, because it delineates video art not only from cinema but also from the subcategories where those definitions may become muddy (as in the case of avant garde cinema or short films). Video art’s intentions are varied, from exploring the boundaries of the medium itself (e.g., Peter Campus, Double Vision) to rigorously attacking the viewer’s expectations of video as shaped by conventional cinema (e.g., Joan Jonas, Organic Honey’s Vertical Roll).

Youtube research

I really like this. The overlays near the end (with lights rotating?) is really nice. I’d like to aim for something like this.

Some nice transitions in this piece.

I like the idea of using black and white footage throughout.. it would mean that it would be united and transition nicely from scene to scene, without colours looking out of place.

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Love the close ups in this.

 

 

Short film research

Ive never used vimeo before so i just started searching short films to get used to it.

I found this film :

<p><a href=”http://vimeo.com/14074949″>DARK SIDE OF THE LENS</a> from <a href=”http://vimeo.com/astrayfilms”>Astray Films</a> on <a href=”http://vimeo.com”>Vimeo</a&gt;.</p>

Im starting to get ideas for my film now. I like the experimental style of film. I would be the same with my photography. I love extreme close ups, where the image is changed completely into something new, because you wouldn’t ordinarily look that closely.

In this short film i like the way images and footage are re used – for example the screen shot below. the image being reflected on the building gives it a really interesting texture. even the fence at the bottom, where half the image is still in darkness and the half on the fence is the waves is really nice.

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Again this film is similar :

I really like the disorientated feel. And the lightings really nice two.

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This piece uses close ups nicely, in the screen shot above you wouldn’t know that the image was a ceiling mould. i could maybe look into turning imagery around and looking at it from a different perspective.

poetry, nice lyrics, nice calm music, narration, extreme close ups, lighting close ups, experimental short films.

The shoe box

SONY DSCFor the shoe box i used a template of a hot chocolate gift set i got for christmas because it was the perfect size of what i wanted to do. The front had a clear sheet so you could see into it. I covered the whole box with a fabric that suited my colour scheme and then replaced the front cover from clear to a glittery patterned clear sheet. For my design i wanted to have the shoes standing so i also created a shelf in the box, reinforced with cardboard.

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I wanted a clear bag to put the shoe box in so you could see what was in the bag. People like to show off new purchases.. why not do it while carrying it home? i added one of the “mrs robinson” labels to the handle of the bag.

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