Experimental film techniques
Introduction
The creative process of any individual relies on time and information. Time dictates the style and application of the skills needed to come up with unique facts and content. Even though experimental film techniques cover various practices, the experimental film is usually characterized by linear narrative absenteeism, the usage of different conceptualizing mechanisms, painting, swift editing- allochronic sonic practices, or even the lack of theme songs. The objective is normally placing the viewers within an active and thoughtful atmosphere while engaging the film. Most experimental films are against mainstream traditions (Kokaram, 2013, p267). Over time to time experts have shared specifics on the nature of experimental films. By definition, experimental films are not easily defined due to the abstract guidelines and extensive categories that dictate definition mannerisms. On one side, it refers to going against film norm narratives and textual movies while on the other side, it has to retain its aesthetic value and auditory art nature. Most of the time, the inherent capability of the experimental films can be mundane or plain. Furthermore, storyline and documentary movies use some of the artistic features to a certain level to focus on generating improved narrative authenticity. Nevertheless, in experimental films, the degree to which each film element is incorporated or deployed in order to trigger or display emotions and ideology is immeasurable.
Features and Techniques of an Experimental Film
As stated earlier, an experimental film tries out with some filmmaking elemental procedures such as visual editing or auditory, flick mechanisms, and even production modes. Since experimental film experiments with new concepts and untried mechanisms, they may succeed or flop (Ohanian, and Phillips, 2013, p134). As it is well known, experiments naturally fail or succeed hence are shaky. Based on known concepts, experimental films can both be exceptional and bad at the same time. In order to clarify this statement, an experimental film can be coherent, natural, and easy flowing. In simpler terms, the usual experimental film features are not sufficient enough to qualify a film under the experimental category.
In terms of practice, the exploration of experimental film’s ability to influence light, motion, space, and period which in turn articulates the movie maker's imaginative perspective. Normally, experimental films are connected to extensive trends and rehearse in fine arts. Besides, there are various kinds of experimental films. However, despite this diversity, the distinctive nature of experimental films is defined against different features, and this assists in defining the importance of this genre. Just like any other motion picture types, film production is a combined effort, nevertheless, in an experimental film, the filmmaker perceives, shoots and oversees the entire film making process with the use of a small crew (Ferrara, 2013,p117). Often, some filmmakers can play more than one role such as the distribution of the end product motion picture. It is vital to note that experimental films are created separately from industry economics with the filmmaker footing the production entire bill. Unlike contemporary film features, experimental films are precise i.e. thirty minutes and below lengthwise. This is due to the size of the budget and other allocations. Even though sometimes the filmmakers make short movies for artistic purposes so as to capture a fleeting scene. The production of experimental films in strips helps in the reproduction and retaining content. Thus, experimental filmmakers are normally known for integrating new concepts in filmmaking mechanisms. For instance, a combination of computer-generated imagery and other forms of graphics influences the making of an experimental film. As noted in an experimental film features give a rough idea of the manner in which these films are to be made different from the usual movie narratives.
In the literature field, evaluating experimental filmmakers normally apply some techniques based on the project at hand. While producing this kind of film, the producer risks introducing a separate narrative from the main storyline. This way, one of the main advantages of experimental films is dictating the language and the main theme of the entire narrative. It is not a must for an experimental filmmaker to isolate his or her ideas based on something unusual or unique in an attempt to go against the current mainstream norms. Thus, the underpinning ideologies dictating the prescribed modernizations associated with experimental filmmaking and scripting are relevant to community traditions and other applicable means. In an attempt to construct experimental film as a motion picture category, the existing assortment of experimental films adopt both visibility and formal artistic perspectives like any other movie hence facilitating the enlargement and objectivity of the entire film category (Tomaric, 2011,p78). Moreover, the principle of filmmaking is integrating realistic occurrences with artistic application and illusions. The subtle balance between spontaneous and thoughtful artistic design brings out the fundamental features of experimental films. Subsequently, further extensions include slow motions, negative imagery, logical editing which in turn influence the altered pictures from actual reality to the cinematic experience. Experimental films normally start as amateurs and then mature into commercial mainstream films. Sometimes they can venture into academic placements.
Experimental Film Approaches
Most of the experimental films specifically relate to fields such as painting, pirouetting, music, poetry, and even investigation and improvement of creative practical properties. Even though some experimental films are dispersed via typical systems such as marketable studios, most of them support themselves all along from production to distribution. It is a known fact that cinematic language changed over time due to the adoption of new filmmaking mechanisms and approaches. For example, the jump cut technique was first introduced as a common experimental filmmaking technique (Alvarado, 2008, p131). Supplementary techniques such as Dolly Zoom were later advanced into acceptable features that could improve the quality of the entire filmmaking process. The evolution of these techniques led to the visionary auteurs.
The concept of visionary auteurs relies on the fact that the director is the central key in comprehending the artistic elements of the entire film. Therefore instead of engaging a group of people, the director is the only consulting agent during the filmmaking process. In the present society, an average movie lover is highly knowledgeable in matters concerning filmmaking. Any movie lover knows the difference between a motionless shot and a tracing shot (Piccirillo, 2011, p219). Even if the filmmaker uses a wide-angle camera or telephoto close-up. Therefore, auteur concepts are one of the most reliable ways of making experimental films.
Apart from the auteur concept, the track-in technique is used to express a character’s power or stature. This filmmaking mechanism efficiently integrates two or more shooting styles thus bringing into perspective the deliverance of an authoritative message. While executing this technique, the camera moves away or toward a certain character. For example, in a scene where seven people are at a dinner table, the filmmaker narrows down into one character as one conversation leads to another and the central character unveils the intentions (Tomaric, 2011, p145). Similarly, a tilt-up within a certain scene informs on the mannerisms of a certain character or even objective. If the filmmaker fails to narrow down on any character then the intentions might be different and accurately noted from a viewer’s perspective hence tilt from a downward trajectory makes the character feel more authoritative.
One of the most common techniques associated with experimental filmmaking is minor off-speed. During the application of these techniques, the filmmaker or director has to come up with a clever way of inventing slow motions in order to capitalize on the quality of capturing the moment. Some instances require slow-motion pictures for the sake of yielding amazing outcomes. However, these instances are less than imagined (Ohanian, and Phillips, 2013, p163). Thus, most of the time experimental filmmakers try to establish the scenery and the message instead of directing applying these techniques. Most directors tend to over crank some shots in order to slow down the moment and bring out the message and critical elements of experimental film making.
In summary, experimental filmmaking does not adhere to mainstream norms. Hence, the budgetary allocations for experimental films are negligible. Sometimes, these types of films may take a personal or general trajectory depending on the main narrative of the writers. The main objective of an experimental film is to combine filmmaking techniques such as auteur concepts so to come up with one central theme. Through the deconstruction technique, the audience can get a chance to interpret the perspectives of the filmmakers and even come up with a sold criticism for some of the scenes within the film.
References
Alvarado, R.G., 2008. Analysis of Filmmaking Techniques For Architectural Animations. Metu Journal of the Faculty of Architecture, 25(2).
Ferrara, S., 2013. Steadicam: Techniques and aesthetics. CRC Press.
Kokaram, A.C., 2013. Motion picture restoration: digital algorithms for artefact suppression in degraded motion picture film and video. Springer Science & Business Media.
Ohanian, T. and Phillips, N., 2013. Digital filmmaking: the changing art and craft of making motion pictures. CRC Press.
Piccirillo, R.A., 2011. The Technological Evolution of Filmmaking and its Relation to Quality in Cinema. Inquiries Journal, 3(08).
Tomaric, J.J., 2011. Filmmaking: direct your movie from script to screen using proven Hollywood techniques. Taylor & Francis.
