2. Aspects of this genre
■ Experimental films have been referred to as Avant-garde, underground, or independent.
■ Experimental films are non conformist and set out to challenge ideas about what films can show
and how they can be shown.
■ It re-evaluates cinematic conventions and explores non-narrative forms and alternatives to
traditional narratives or methods of working.
■ The aim of experimental filmmaking is usually to express the personal vision of an artist, rather than
to entertain or to generate revenue.
■ The goal is often to place the viewer in a more active and more thoughtful relationship to the film.
■ They use minimum language; most prefer visual images.
■ 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".
■ It rejects a lot of conventions from mainstream movies.
■ Since there are no set rules in experimental films (hence the name experimental) it means various
styles of experimental films exists ;which make sit difficult to draw out its specific codes and
conventions.
3. Target audience
■ There isn’t a specific target audience for experimental films.
■ However, we can tell that due to its complexity and ambiguity its probably more
targeted towards an older audience who is able to comprehend deeper meaning and
symbolism behind certain scenes for instance.
■ It could easily be targeted towards any class background, ethnicity, religion and
gender.
4. Plot
■ Since there are no set rules in experimental films (hence the name experimental) it means
various styles of experimental films exists ;which make sit difficult to draw out its specific
codes and conventions.
■ The fact that this genre is so broad and vast means the plot can be about anything the director
wishes to express.
■ They can express more personal experiences or feature more eccentric topics
■ Many experimental films, particularly early ones, relate to arts in other disciplines: painting,
dance, literature and poetry.
■ A lot of movement is artistically expressed through these experimental films.
■ Since narrative isn’t followed it makes following the ‘plot’ more challenging for the audience.
■ Some plots might seem very random and strange.
■ Example Warhol’s ‘’eat’’ (1963) – consists of nearly 40 minutes, high contrast shot of a man
slowly eating, transcends the expectations of what a movie should be
5. Understanding experimental cinema:
■ Since experimental cinema has much depth and it’s codes and conventions aren’t
easily pin pointed, it is important and essential to at least understand its different
forms.
■ Again, experimental films are not tied to any story structure, character arc, or
common sense.
■ This will help understand where its different elements come from and it makes things
more specific.
6. Forms of experimental films:
There are different forms of experimental films:
■ Abstract form
■ The abstract form organises entire films around colours, shapes, sizes and movements
of images.
■ This form can seem completely random, but is in fact linked to themes.
■ Shows and demonstrates contrast (part of the genre’s key element).
■ Self- reflexive cinema
■ This may include a character interrupting the story to speak to the camera (breaking the
fourth wall).
■ This kind of cinema has generally been seen as consciously and purposely opposing the
mainstream cinema's realistic illusion
7. Forms of experimental films:
Surrealism
■ Surrealism is characterised by an irrational, non-contextual arrangement of subjects.
■ Surrealism lends itself to experimental films.
■ Surrealism is made portray the workings of the subconscious mind as manifested in dreams
for example.
Associational form
■ This is a type of organisation in which the film’s parts are juxtaposed to suggest similarities,
contrast, concepts, emotions and expressive qualities.
■ It’s impossible to define a conventional set of parts into which an associational film will fall.
■ General principles are that images are grouped together in larger sets, use repeated motifs
and content that invites interpretation.
8. Audience response
Responses vary with experimental films as they are so peculiar. In this case, the audience is
allowed to have their own individual interpretations of the media product.
The audience responses could include:
■ Confusion
■ Boredom
■ Shock
■ Laughter
■ The goal of the director isn’t to make them feel a particular way.
■ Stuart Hall - Polysemy capacity for a text for a text to have multiple meanings. It is to do
with how individuals interpret and decode readings in different contexts and cultures).
9. Length/budget
■ Experimental films can be any length – I min to 8 hours
■ 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
10. Composition/ shots
■ Audio-visual elements are often manipulated in strange new ways
■ 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— non-diegetic sound or even the absence of any sound track.
■ Brakage's ‘’Dog star man’’ (1961) – consists of fast moving layers of colours, shapes,
splotches that create a disoriented and unique experience
11. Mise-en-scene
■ Lighting – varies widely
■ Props/makeup – varies widely, although there tends to be a lot of experimental films
with very eccentric makeup and props.
■ Location/setting – varies widely, although many are based in one room due to location
not being the focus of the film.The focus is more on people and things rather than
setting itself.
■ Vibe/overall look – very often there is a still yet movement is present. Many
experimental films have an unusual vibe due to the mise-en-scene and composition of
everything.
12. Sound:
■ Many experimental films have zero dialogue.
■ Many have very flat instrumental music to accompany the visuals or have (non)-
diegetic sound.
■ Sound is an important element since there is no dialogue but its not the focus of the
film (ie; cant overtake/overpower the visuals).
■ Many also have voice over of the protagonist’s thoughts.
■ Again, this varies depending on the genre.
13. Actors/acting
■ Since there isn’t much dialogue the number of actors is usually low.
■ Acting itself isn’t really the way to put it, in experimental films its more of a
‘performance’ due to the significant presence of movement.
■ Acting isn’t prioritised in experimental films.
