1. Experimental &
Expanded
Film/Video

2. Experimental FilmExperimental Film
• A film that rejects the conventions of mainstream moviesA film that rejects the conventions of mainstream movies
and explores the possibilities of the medium itself.and explores the possibilities of the medium itself.
• Experimental films have been referred to as avant-garde,Experimental films have been referred to as avant-garde,
underground, personal, or independentunderground, personal, or independent
• Arguably the most famous, important and discussed ofArguably the most famous, important and discussed of
ALL experimental films isALL experimental films is Luis Bunuel’sLuis Bunuel’s Un ChienUn Chien
Andalou (An Andalusian Dog)Andalou (An Andalusian Dog)..

3. Experimental FilmExperimental Film
• Experimental films are nonconformist and set
out to challenge the orthodox ideas about what
films can show and how they show them¨ There
are no set rules and therefore various styles of
experimental film exist: they can express more
personal experiences or feature more eccentric
topics

4. • They can also test the limits of the medium itself by
manipulating audiovisual elements in strange or
novel ways
• Brakhage’s Dog Star Man (1961) - Consists of fast
moving layers of colors, shapes, splotches that
create a disorienting and unique experience.
• Warhol’s Eat (1963)¨ - Consists of a nearly 40
minute, high contrast shot of a man slowly eating,
transcends the expectations of what a movie should
be.

5. • Experimental films can use any type of footage. Many
artists create found-footage films that re-contextualize
previously existing material.
• Bodysong (2003) is a documentary about human life and
the human condition directed by Simon Pummell. The
entire film has no dialogue, and is set to a score
composed by Jonny Greenwood (of Radiohead).

6. • The film is a montage of archive footage sourced from a
century of cinema and television. It's structured primarily
according to the chronological progress of the human
body, but also includes a few well-chosen detours into
sex, illness, conflict, religion, art and politics. In sum, it
embraces both individual and species, physics and
metaphysics, body and soul.

7. • Kenneth Anger’s Scorpio Rising(1963)
• The extensive possibilities of experimental exemplified
by Kenneth Anger’s Scorpio Rising. Anger explores 60’s
motorcycle culture using a combination of staged events
with found content such as old photos, comic strips, and
Nazi posters. Also syncs visual elements with rock and
roll songs.¨ An observation of how the homoerotic side of
motorcycle culture has ritualistic behaviours that can be
compared to the rituals of fascism and Christianity. Also
explores how people model themselves after images
provided by the media.

8. Self-reflexive CinemaSelf-reflexive Cinema
• A self-reflexive film may include a characterA self-reflexive film may include a character
interrupting the story to speak to the camerainterrupting the story to speak to the camera
• This kind of cinema has generally been seen asThis kind of cinema has generally been seen as
consciously opposed to mainstream cinema’sconsciously opposed to mainstream cinema’s
realistic illusion, which hides processes andrealistic illusion, which hides processes and
conventions from immediate view (the Classicalconventions from immediate view (the Classical
Hollywood style of continuity editing does this).Hollywood style of continuity editing does this).

9. Other Characteristics…Other Characteristics…
• Experimental films can be any length -Experimental films can be any length - 1min1min oror 8 hrs8 hrs
• They use a minimum of language; most preferThey use a minimum of language; most prefer visualvisual
imagesimages
• Such films rarely followSuch films rarely follow narrativenarrative
• Such films often draw attention to themselves or toSuch films often draw attention to themselves or to
the film medium. You may see the camera itself,the film medium. You may see the camera itself,
choppy editing, numbered film frames, sprocketchoppy editing, numbered film frames, sprocket
holes, etc.holes, etc.

10. Stan BrakhageStan Brakhage
• ““Everything we have been taught about art and theEverything we have been taught about art and the
world itself separates us from a profound, true visionworld itself separates us from a profound, true vision
of the world. We are straitjacketed by myriadof the world. We are straitjacketed by myriad
conventions that prevent us from really seeing ourconventions that prevent us from really seeing our
world. So it is with filmmakers: the so-called rules ofworld. So it is with filmmakers: the so-called rules of
good filmmaking that are so carefully followed bygood filmmaking that are so carefully followed by
commercial filmmakers prevent them fromcommercial filmmakers prevent them from
expressing all but the most trite reformulations of theexpressing all but the most trite reformulations of the
same boy-meets-girl story.”same boy-meets-girl story.”

11. SurrealismSurrealism
• A movement in 1920s and 1930s European art,A movement in 1920s and 1930s European art,
drama, literature and film in which an attempt wasdrama, literature and film in which an attempt was
made to portray or interpret the workings of themade to portray or interpret the workings of the
subconscious mind as manifested in dreams.subconscious mind as manifested in dreams.
Surrealism is characterised by an irrational, non-Surrealism is characterised by an irrational, non-
contextual arrangement of subjects.contextual arrangement of subjects.
• Surrealism lends itself to experimental films.Surrealism lends itself to experimental films.
• It has had a great influence on music videos.It has had a great influence on music videos.

12. Important ExperimentalImportant Experimental
FilmmakersFilmmakers
• Luis BunuelLuis Bunuel
• Maya DerenMaya Deren
• Stan BrakhageStan Brakhage
• Andy WarholAndy Warhol
• Kenneth AngerKenneth Anger
• Jan SvankmayerJan Svankmayer
• Chris MarkerChris Marker

13. Abstract Form:
¨There are various forms of Experimental Film, the
abstract form organizes entire films around colours,
shapes, sizes, and movements in the images. This
is in contrast to other types of film (such as a
documentary) in which these abstract elements may
exist, but are “subordinate to the rhetorical
purposes”

14. Abstract Form:
Abstract films can seem completely random, but are
often organized through theme and variation. An
introductory section shows the base relationships
the film will explore, and then other segments will
show similar yet different kinds of relationships.
Abstract films are usually dependent on building
greater and greater distance from the introductory
material, increasing the contrast of elements as time
goes on.

15. Associational Form:
¨ Definition: “A type of organisation in which the
film’s parts are juxtaposed to suggest similarities,
contrasts, concepts, emotions, and expressive
qualities”

16. Associational Form:
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; example = Koyaanisqatsi

17. Responses:
Confusion
Boredom
Shock
Laughter

18. “The difficult and risky task of meeting and
mastering the new—whether it be the settlement
of new lands or the initiation of new ways of life
—is not undertaken by the vanguard of society
but by its rear. It is the misfits, failures, fugitives,
outcasts and their like who are among the first to
grapple with the new.”
Eric Hoffer (Philosopher)

19. “An avant-garde man is like an enemy inside a
city he is bent on destroying, against which he
rebels; for like any system of government, an
established form of expression is also a form of
oppression. The avant-garde man is the
opponent of an existing system.”
Eugène Ionesco (Playwright)

20. “There is a certain kind of person who is so
dominated by the desire to be loved for himself
alone that he has constantly to test those around
him by tiresome behavior; what he says and
does must be admired, not because it is
intrinsically admirable, but because it is his
remark, his act. Does not this explain a good
deal of avant-garde art?”
W.H.Auden (Author)

21. When studying approaches to Spectatorship and
Experimental and Expanded Film/Video it is essential to
consider your own experiences of film viewing and
what you expect from film viewing itself.
Mainstream expectations always interfere with
contrasting approaches to film construction and can lead
to negative viewpoints. Experimental films, by their very
nature, seek to subvert conventional expectations of
film form and narrative. They tend to explore
experiences and observations that can't be visualised
by the more formal structures of mainstream cinema.

22. Whenever discussing experimental films an analysis
must include the content of the film itself (the
techniques employed) and the expectations involved in
the experience of viewing each work.
The conditions of viewing must also be taken into
consideration as every viewing can be defined as
different due to its circumstances (a classroom
environment being one).
When you respond in a group you may adopt the views
of 'others' which may influence your own personal
response.

23. A good response will:
• Take into account the technical elements of cinema
construction
• Be aware of the themes of the film (an ability to construct
meaning)
• Acknowledge that the film will challenge the spectator
• Discuss the techniques that the film employs
• Respond on a personal level
• Discuss an understanding or a lack of understanding
• Understand that confusion or boredom/lack of interest may
be a response
• Be able to recognise experimental approaches and
debate the use of film techniques opposed to pre-
determined ideas of more formal mainstream cinema.