EXPERIMENTAL FILM CODES AND CONVENTIONS

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.

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.

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

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.

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

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.

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).

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

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

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.

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.

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.