Experimental Film in the World of Cinema

Experimental film, “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.” Experimental film is routinely linked to poetry. Since it is attached to poetry, helps members of the audience comprehend the compulsion that often drives experimental work. While experimental film has been transpired for the past one hundred years, filmmakers created a more dynamic film by combining images and sounds of bizarre scenarios to fascinate audiences.

Experimental film is known for its distinct mark on the cinema world, it has an unmistakable grasp intended for specific audiences, the vision experimental films aims to convey originates in mass media. Many mechanics and social changes associated with the principal term, modernity. Modernity is a term that “both names a broad history stretching from the end of the medieval era to the present identifies an attitude toward progress and science centered on the human capacity to shape history”. In the early twenties century, when motion-picture was first refined, observers and directors saw an extremely fast paced industrial and cultural change that was questioned in developments among the arts. Trials with space and time surfaced early in the history, while film attracted experimental artists from other media.

In Chris Marker’s short film, ​La Jetée​ released in 1966, challenged moviegoers, philosophers, and even himself for years with his compound questions about time, impressions, and the instant advancement of life on this planet we call Earth.​ La Jetée​ is one of the most dominant, extensive science-fiction films ever designed, a short narrative of time travel told in still images. Another film to bring into account is ​Meshes Of The Afternoon​, released in 1943. In this short film, as Maya Deren creates this world of of hues, form, structure, and sound these elements are in a state of controllable variability. This film simulated a new American cinema.

Experimental films have a wide variety of creative processes. During its course, experimental films can challenge while also being a dominant factor of film forms and institutions. For example, ​Meshes of the Afternoon​, exposes the challenge of the film that lies behind the fact that narrative is not its main feature or structure. Instead, images come together and repeat in contrast that create interior patterns.

The increasing political radicalism of the time was more directed at the border between documentary and experimental practice; this movement explored gender and sexual politics. Independent filmmakers researched the power associations on a film shoot. Another example is the heart of counter culture, gay and lesbian rights movements hosted its own vibrant avant-garde scene. Experimental film urges have often been incorporated into narrative filmmaking and theatrical exhibition rather than confined exclusively to autonomous avant-grade circles. Hypothetical directors tend to use certain styles of organization and perspectives. Some key structures are surrealist, lyrical, and critical.

Surrealist style in film uses distinguishable pictures in uncanny contexts while also defying the realist dispositions and narrative logic of mainstream cinema. Surrealist cinema was a dominant force in Europe and France during the twenties.

Lyrical styles express emotions, beliefs, or some other personal position in film, much like the voice of a lyric poet does in literature. Lyrical films emphasizes one’s opinion and using their personal voice or vision, while they are working through the uniqueness of the imagination and using such techniques as voice-overs or handheld camera movements. An example of a lyrical style in film is Shirley Clarke’s ​Bridges-Go-Around​ released in 1958. As any viewer watches thie film it can be very confusing, viewing unusual camera angles is what makes the feel so unique. The favored camera that experimental filmmakers use is the lightweight 16mm camera.

Finally, critical positions created a structure in film or media work through inquiry of its form, content, or connection with each viewer.