Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory
DOI:
https://doi.org/10.25038/am.v0i15.225Keywords:
alternative film, artist film-video, avant-garde film, expanded film, experimental film, neo-avant-garde film, structural film, underground filmAbstract
In what follows, I will point to theorization of concept of the experimental film. My main thesis is that experimental art is based on the project, research practice, innovation and open transgressive or subversive artworks. Art focused on subversion of institutional power features as a singular event performed within a particular social relationship, as a critical actionist, engaged, or activist practice. Transgression – literally – refers to: infraction, violation of a law or an order, while in geological terms it implies penetration and expansion of the sea over the mainland. The notion of transgression relates to excess, overrunning or, more precisely, departing the familiar for the unknown, control for freedom. Experimental art was created in different disciplines such as experimental music, experimental film, experimental theater, etc. John Cage’s concept of ‘experimental music’ has been the starting point for new experimental art and artistic practices since 1950. Experimental film (experimental, new, avant-garde or neo-avant-garde cinema) has featured since the Second World War. The concept and term describe a range of filmmaking styles which are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking and entertainment-oriented cinematography. In the second and third part of the essay, I will present an analysis of the experimental films of the artists the OHO group and Neša Paripović.
Article received: December 2, 2017; Article accepted: December 18, 2017; Published online: April 15, 2018; Original scholarly paper
How to cite this article: Šuvaković, Miško. "Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory." AM Journal of Art and Media Studies no 15 (2018): 1–10. doi: 10.25038/am.v0i15.225
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DOI: http://dx.doi.org/10.25038/am.v0i15.225 DOI: https://doi.org/10.25038/am.v0i15.225
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