File Name: a history of experimental film and video .zip
Experimental film , experimental cinema , or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. While some experimental films have been distributed through mainstream channels or even made within commercial studios, 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. Experimental filmmakers generally begin as amateurs, and some use experimental films as a springboard into commercial film making or transition into academic positions. The aim of experimental filmmaking may be to render the personal vision of an artist, or to promote interest in new technology rather than to entertain or to generate revenue, as is the case with commercial films. The term describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking.
The course offers students a general introduction to the history and methodology of art inquiry in the West. This course is a historical and theoretical examination of the museum and gallery spaces as sites where cross-cultural representations are shaped, constructed, negotiated, and resisted. The global and historical context of animation will be explored through early cinema, industry foundations, modern art, wartime, stop-motion, international popular culture, and contemporary art. Points of discussion will be introduced through presentations aimed at provoking thought about their work. Students to engage with the field of design through an intellectual lens as creative projects are assigned and completed. Use your interest in art and equality, politics, social justice, the environment to make prints that protest or advocate. You will develop practical, critical and creative skills that you can continue to use in other courses and perhaps beyond.
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The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the s and repositions these debates relative to contemporary practice.
She is currently a professor and chair of the Communication department at Woodbury University in Los Angeles. Feminist Media Histories 1 April ; 6 2 : 67— This essay analyzes Barbara Hammer's experimental nonfiction film Jane Brakhage. Both an homage and a rebuttal to the many films of Jane Brakhage made by her husband, Stan Brakhage, Hammer's film gives Jane the voice she never had in Stan's work. The article contextualizes Jane Brakhage 's production at a moment when competing strands of feminist thought took different approaches to the fraught topic of nature. Hammer's films were criticized as essentialist by feminists in the s, but this essay argues that Jane Brakhage complicates that reading of Hammer's work. The film documents Jane's creative life in the mountains, but critiques the limitations of her role as a heterosexual wife and mother.
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