Experimental and as important as narrative film you

Experimental films are not common
and not attractive to filmmakers. A lot of people will go through their whole
life without even seeing an experimental movie or even sitting through the
whole film. “Experimental” this word refers to something un usual it means that
the person is trying something new or different even something far away from
tradition, therefore at first, it will cause people to be confused, maybe even
annoyed. Basically, experimental films are really easy to talk about but quite
difficult to understand since most people have no understanding of what they
are. Just like any other form or concept of art, cinema can also be beneficial
for one’s health and could help heal.1

 

The world of experimental cinema
has a history just as rich and as important as narrative film you could say
that both of them had similar importance. Normally connected with European
filmmakers, America has its own full tradition of experimental filmmakers.
Defined in a very abstract way as any film that doesn’t use narrative cinematic
method to achieve its objectives, experimental cinema is worth the effort for
any filmmaker or student of film. Now it looks easy to see back and look how
film’s development into a narrative form was a foregone result, but when motion
picture technology was brought to the scene in the late 19th century, there was
the same as what happened with the internet in the past a sense of freshness
and endless possibilities. Without a developed cinematic grammar, most of the
films were just one shot in the beginning. With the base of narrative film
developed, automatically experimental cinema came out after world war one
Europe in the 1920s to make it into something completely different; visual
artists and writers tried to make fun of traditional notions of everything
involved including the plot, character, and setting, which they as restrictive.2

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There are a lot of motives on the
reason you would push yourself to make experimental films along the side of
narrative and documentary films. These motives are a wide range and there are
definitely too many to account for and write about. But the reasons should
provide a general understanding of why experimental film making might just be
one of the most useful things that you can do as a filmmaker. One of those many
reasons is Spontaneity in narrative film making; it’s extremely hard to be
free and careless. When time equals money, which it something you will always
be reminded of within the narrative world, people prefer to go by the rule book
and get the shots and desired objects and concepts they need to tell the story.
This isn’t a negative thing at all, but it doesn’t go along with the act of
trying to create art, which needs at least a certain amount of spontaneity no
matter how little or how small. With experimental film making, creative
choices can be professionally planned, and organized choices made before
shooting, or the shooting can be a free act of what it’s trying to represent.
Which is easier when u don’t have the weight and heavy load of thinking about a
time schedule and that you are supposedly following, therefore thankfully would
leave more time for creativeness, basically and most importantly you are free
to make creative decisions as you see fit, right on the spot.3

 

This
is not to say that those who make them are unwell. However, some directors
don’t care about what people may think or even about revenues or commercial
success – they make movies for themselves and the best way of doing that is
through experimental cinema since it’s the best way of not being traditional
and not living by the rules and just staging whatever comes to mind and heart.4

 

Another benefit of Experimental
cinema that is worthy of mentioning would have to be creative Betterment because
with experimental film making, anything and everything can happen. You can do
things with the camera that you would defiantly not do on a narrative set.
Because of the rules and limitations and the social pressure to stick to
traditional narrative film making whereas with experimental film making you can
act as your heart and mind desire in the editing room you can stack,
manipulate, and composite video to whatever you feel or think there is no norm
and there is no barriers. You can create the most boring or insanely crazy
abstract images and sounds and plan and organize them in a way that is
unfamiliar to anything and anyone you know. When you have no one telling you
what is right or wrong and when you have no one telling you what is allowed and
what is prohibited, you’re more likely to try new things that are different and
that could result in outstanding art no matter how crazy or abstract it maybe.
It’s through this experimentation that you can begin to unleash your creative
powers, and create and perfect techniques that you may be able to incorporate
into your narrative and documentary films.5

 

After talking so fondly about
experimental cinema I guess it would only be fair to take about some of its
limitations and disadvantages in order to get the full effect of experimental
cinema in all its aspects, Experimental research can create artificial
situations that do not represent real-life situations. This is because of the
none existence of limits or boundaries, the behavior of the main subjects might
not actually predict honest behaviors in a non-experimental
environment. Human error would also have to be a factor that plays a big
part in the validity and reliability of the film in the making. Since
experimental cinema allows you to control manipulate and move whatever you wish
it may not be really possible to control all variables that you want to
control. Such as the The health, mood, and life experiences of the main
subjects with in your film because it may influence their behaviors and those
variables might not even be discovered by the researcher. The research must
follow to ethical standards as a general aspect so that it would be reliable
and valid. Sometimes with experimental cinema internal validity can steal focus
and be accomplished without regard for the external validity. When this
situation occurs, the results might not be standardized or generalized to the
whole population since general validity has not been achieved. Also, another
worth disadvantage that should be mentioned would be the aspect of trying to
film in natural environment, such as a hospital or community, it may not be
possible to control the extraneous variables. As well as the fact that
Experimental research is a strong method for trying to or verifying causation, but
it often can’t specify “why” specific results have been produced.6

1 Anthology
Film Archives (2015).The Legend of Maya Deren. New York: Anthology Film
Archives. New York: New York University Press. P 214 – 216.

2 Armes,
R. (2016). THIRD WORLD FILM MAKING AND THE WEST. California: University of
California Press. P 67 – 89.

3 Barnett,
Danial. (2017). Movement as Meaning in Experimental Cinema. Hong Kong: The
Chinese Typewriter. P 34 – 35.

4 Blaetz,
Robin. (2015).  Women’s Experimental
Cinema: Critical Frameworks. London: Duke University. P 20 – 21.

5 Dixon,
W. W., & Foster, G. A. (2015). Experimental Cinema: The Film Reader.
London: Routledge. P 13 – 14.

6 Rogers,
Holly. (2017). The Music and Sound of Experimental Film. New York: Oxford
University Press. P 46 – 49.