The Founding and Manifesto of Futurism - Italian Futurism. Translated from French: Le Figaro, Paris, February 20, 1909 (Italian version here) This English-language translation COPYRIGHT ©1973 Thames and Hudson Ltd, London. All rights reserved. Source for translation by R.W. Flint reproduced below: Apollonio, Umbro, ed. Documents of 20th Century Art: Futurist Manifestos. Brain, Robert, R.W. We had stayed up all night, my friends and I, under hanging mosque lamps with domes of filigreed brass, domes starred like our spirits, shining like them with the prisoned radiance of electric hearts. An immense pride was buoying us up, because we felt ourselves alone at that hour, alone, awake, and on our feet, like proud beacons or forward sentries against an army of hostile stars glaring down at us from their celestial encampments.
Then the silence deepened. ‘Let’s go!’ We went up to the three snorting beasts, to lay amorous hands on their torrid breasts. I cried, ‘The scent, the scent alone is enough for our beasts.’ Museums: cemeteries! You have objections? Futurism: Manifestos and Other Resources. Về experimental và các cách tiếp nhận nghệ thuật | Da Deformed Circus. Experimental nếu dịch ra tiếng Việt có nghĩa là (thuộc về) thực nghiệm, thí nghiệm, tức là dựa trên quan sát, phân loại, nêu giả thuyết và kiểm nghiệm giả thuyết bằng thí nghiệm.
Experimental music/film khi du nhập vào Việt Nam lại hay được dịch thành âm nhạc/phim ảnh thể nghiệm, nhấn mạnh vào cái tính “thử/ kiểm nghiệm” mà vô hình trung lại làm mờ đi lớp nghĩa về “kinh nghiệm cá nhân” mà nó hàm chứa. Từ cách hiểu đó, ta hay xét experimental music/films là các sản phẩm của sự tìm tòi, thử nghiệm của tác giả khi sáng tạo ra sản phẩm đó. Cách hiểu này không phải không đúng, nhưng nó không thể hiện được hết bản chất của experimental là gì. Experimental, trong cách định nghĩa và suy nghĩ của tôi, là những sản phẩm bắt nguồn TỪ những kinh nghiệm thực tế mà tác giả đã trải qua. Nói cách khác, tác giả phản ánh lại những kinh nghiệm cá nhân, những hồi ức, những kỷ niệm của riêng mình vào một đối tượng nghệ thuật cụ thể.
Experimental lại đòi hỏi cách thức tiếp nhận khác hẳn. Top 10 Experimental Films. Known to some as “avant-garde” and to others as “underground”, there is a distinct genre of film known as “experimental” that exists solely to further and explore the process of filmmaking. Usually made by artists who operate outside of the commercial mainstream, experimental films are usually made cheaply with very low budgets.
They frequently contain non-linear approaches to storylines, radical filmmaking techniques, and a blatant disregard for the cinematic status quo. The world of experimental film is so vast and unique that it can be next to impossible to pin down which films qualify as part of the genre. After all, if a mainstream Hollywood film utilizes new or bizarre camera techniques, does that make it experimental? Does a film have to be made on a nearly non-existent budget for it to qualify as experimental?
Note: Not all of the YouTube videos for these films allowed embedding, please visit our playlist for more videos. 10. Directed by Luis Buñuel 9. 8. 7. 6. 5. 4. 3. 2. 1. Film Manifestos and Global Cinema Cultures - Edited by Scott MacKenzie - Hardcover. The Avant-Garde(s) Without a doubt the most prevalent type of film manifesto comes from the cinematic avant-garde. This makes a great deal of sense, as manifestos-whether political, aesthetic, or both-can be seen in the first instance as a form of avant-garde writing, calling into being a new future.
From the early twentieth century onward, film manifestos played a formative role in the way in which the avant-garde was understood. This chapter begins with the "The Futurist Cinema Manifesto" from 1916, a key early film manifesto made all the more relevant because of the disappearance of most futurist cinema films through loss and neglect.
The various Russian formalist and surrealist statements all point to the way in which avant-garde practices allowed for filmmakers to conceptualize the cinema as a tool to release the unconscious, or allow for revolutionary transformation, moving away from the realist principles that the cinema embodies so well. The Futurist Cinema (Italy, 1916) F. 1. 2. VERTIGO | A Story of Experimental Film. By Louis Benassi Free Radicals: A History Of Experimental Film, 2012 Part film essay and part tribute to his friends, including Jonas Mekas, Peter Kubelka, Ken Jacobs and Robert Breer, Free Radicals (2011) is the result of Pip Chodorov’s personal journey through the history of avant-garde cinema in Europe and the USA, from early post-war pioneers through to the founding of New York’s Anthology Film Archives.
Instead of trying to give a comprehensive overview of the historical and contemporary contexts, Chodorov provides a privileged glimpse at the personalities involved by blending rarely seen archival footage drawn from TV programmes made by his father with new interviews with the filmmakers and their work. The interview is followed by a compilation of three Q&As with Pip Chodorov, moderated by Lucy Reynolds, which took place during the 55th London Film Festival in 2011, where Free Radicals screened as part of the festival’s Experimenta Weekend. PC: Politically radical? PC: Ken's funny. Naming, and Defining, Avant-Garde or Experimental Film. Home Film My Art Art Other: (Travel, Rants, Obits) Links About Contact I originally posted a version of this attempt to define experimental or avant-garde film to FrameWorks, an email discussion group dedicated to avant-garde film, on , in response to a question posted much earlier.
The version of this statement in the FrameWorks archive is followed by a number of interesting replies. Fred Camper This article is also available in a Spanish translation. Naming, and Defining, Avant-Garde or Experimental Film By Fred Camper About naming, no one has ever come up with a satisfying name for the body of work that includes Ballet mécanique, Un Chien Andalou, Meshes of the Afternoon, Dog Star Man, The Chelsea Girls, Quick Billy, Serene Velocity, Zorns Lemma, and Journeys from Berlin/1971, to say nothing of all sorts of more recent work by filmmakers such as Su Friedrich, Janie Geiser, Louis Klahr, Brian Frye, and others. 1. 2. 3. 4. 5. 6.
The Ann Arbor Film Festival: Capturing the Spirit of Experimental Film. Day two at the AAFF saw my newly acquired crew of nomads stumbling about the foaming confines of Ann Arbor. Our tour nearly slanders the idea of covering a festival. We came. We wandered. We saw some films. The second day concerned films in their primal state, as though the creators realized the camera had been created in front of their eyes like Neanderthals being shown fire for the first time.
Amongst this banter I am still endowed to shake the hand of the festival for revealing projects which would not show to average eyes. Day two’s batch of experimental films was a damp mixture of serene, assaulting or tedious. “Heavy Eyes” is a series of double negative images blended in and out of static background, as though multiple prophetic faces appeared through your television screen at four o’clock in the morning. Phil Solomon’s 1983 film “What’s out Tonight is Lost” was the only other film in the bunch with anything in it besides a flurry of images and color. Photos by Nicholas Vechery. Experimental film. Kristin here: In my previous entry, I described Gravity as an experimental film. I had thought of it that way ever since seeing trailers for it online back in mid-September. I described it as reminding me “of Michael Snow’s brilliant Central Region, but with narrative.” Last time I developed that notion in more detail and analyzed the narrative structure of the film.
Now I’ll analyze the experimental aspects of the film’s style and the dazzling means by which they were created. As in that entry, SPOILER ALERT. Screaming on the set I’ve written about Cuarón’s use of long takes, a stylistic device that has drawn a huge amount of attention in the press. The long takes go beyond what Cuarón has done before. As Cuarón has pointed out, his long takes eliminate the need to cut in to closer views: “The language I have been working on with Chivo in these recent films is not one based on close-ups. The long takes often dictate a refusal to cut in to reveal significant action. The LED Light Box. Four stars for Boyhood: An experimental film that evokes recognition, melancholy and joy. Richard Linklater’s Boyhood, both a fictional drama about growing up and a wonder-rousing cinema experiment, deserves all the accolades it has been receiving since its appearances at the Sundance and Berlin film festivals earlier this year.
Presented in 143 scenes shot in 39 days over a dozen years with the same cast, the film explores that permeable border between drama and documentary in a way that evokes recognition, melancholy and joy, while sticking to the mundane experiences of one boy’s life. The subject of Boyhood is played by Texas actor Ellar Coltrane, and we see him travel from the age of six to 18, from a cherubic child, to a pudgy, uncertain adolescent, to a bony, deep-voiced man. His head and body pop and lengthen over the years along with the length and complexity of his sentences. It’s like a time-lapse photo of an expanding consciousness. When we first meet Coltrane’s character, Mason, his parents are getting a divorce. Experimental Film. Why I Hate the Avant-Garde, part 2 | BIG OTHER.
Part 1 Re: Johannes’s comment on my recent post, I first saw people using “avant-garde” to refer to work made today in the late 1990s, on the Frameworks mailing list, which is: an international forum on experimental film, avant-garde film, film as art, film as film, or film as visual poetry; film’s expressive qualities, aside from or in addition to its storytelling capacity. Any genre of experimental film, such as film diary, found footage, abstract, flicker, lyric, subversive, expanded, etc., can be discussed, as well as those films which fall into the cracks between the genres, or those not covered by other lists.All aspects, from filmmaking to criticism, are acceptable in this context, including unipersonal production, techniques, history and esthetics of avant-garde film, critical discussions, new directions, courses and teaching, festivals, announcements of world-wide events in film, retrospectives, exchanges of information, etc.
…And what would be wrong with that, really? Experimental Films and Filmmakers. - Page 2.