what is experimental video

• Film Theory

What is Experimental Film — History, Examples & Movements

W hat is an experimental film? This elusive and niche genre can be difficult to define, and there are many common misconceptions about experimental filmmaking, but we’ll be sorting through the fact and the fiction to provide a comprehensive overview of what it means for a film to be “experimental”. We’ll get started with a definition, then dig deeper into experimental filmmaking as a genre, and finally close things out by taking a look at some notable examples.

Avant garde film definition

First, let’s define experimental film.

There are many film terms and phrases that could use simple definitions, and we’ve compiled them all in our ultimate guide to filmmaking terminology . You can also look up definitions for every genre of film in our ultimate guide to movie genres .

EXPERIMENTAL FILM DEFINITION

What is an experimental film.

An experimental film is a project bucks the trends of conventional cinema and pushes the medium of film in unexplored ways. The spectrum of experimental films is extremely broad; this genre encompasses a great many types of projects of varying lengths, styles, and goals.

There are experimental feature films, though more experimental projects have shorter runtimes. This is due in part to many experimental films being made for low budgets and/or the fact that the majority of experimental films are never intended for mainstream appeal or traditional distribution.

AVANT GARDE FILM CHARACTERISTICS

• Can be any length
• Niche and often artsy
• Pushes boundaries and tries new things

Experimental filmmakers

Digging deeper into experimental film.

Let’s dig a little deeper into what it means for a project to be classified as an experimental film. There is a modicum of debate over what exactly constitutes an experimental film, and some projects blur the line between traditional cinema and experimental filmmaking by including elements of each. Experimentation can be found in the editing, in the filming, in the subject matter, or in the manipulation of the camera and celluloid’s chemical and mechanical processes.

A beginner’s guide to experimental cinema

There are many misconceptions about what experimental filmmaking is, so let’s dispel a couple. One common belief is that experimental films have no story. While some experimental films certainly lack anything that could be considered a traditional narrative, that does not hold true for all experimental films.

Another commonly held notion is that experimental films are weird for the sake of being weird or that they are simply filmed nonsense. This is quite a reductive stance to take on the entire genre, but it is an opinion shared by many. The audience for experimental films can be extremely niche, and experimental filmmakers are aware of this. They are not made for everyone.

Surreal = experimental is another common misconception. Containing an element of surrealism does not automatically make a project experimental in nature. However, there is an intrinsic linkage between surrealism and experimental cinema, so the misconception is understandable. Let’s clarify this point with an example.

Sexy Beast  •  dream sequence

This dream sequence from the gangster flick Sexy Beast is undoubtedly surreal yet there is nothing experimental at play. The surrealism is conjured through traditional filmmaking means only. So, while surrealism and experimental cinema often go hand-in-hand, surrealism alone is not enough to constitute a film being labeled as experimental; the filmmaking methods and the pushing or warping of boundaries play important roles as well.

Related Posts

• Read More: What is Surrealism →
• Read More: How to Design a Surreal Film Score →
• FREE: Break Down Scripts Using StudioBinder Software →

The history of experimental cinema

Experimental filmmaking over the years.

Since the first camera was invented , artists have been experimenting with the tool. At the dawn of cinema, everything was an experiment. It was only through the intervention of time that certain techniques and methods became standard.

While many of the techniques used in Voyage dans la Lune seem antiquated by modern filmmaking standards, they were absolutely boundary shattering way back in 1902. Radical experimentation was necessary to pull off so many things that had never before been seen or created in the medium of film.

A Trip to the Moon

As cinematic techniques improved and became seen as standards, there were still filmmakers willing to experiment and push the envelope. 1929’s Un Chien Andalou was an early masterpiece of both surrealism and experimental filmmaking. Many of the techniques used in Un Chien Andalou were experimental at the time but have since been integrated into more standard filmmaking techniques as the decades have passed. Salvador Dalí and Luis Buñuel were two master surrealists and played an important role in the common linkage between surrealism and experimentation through their boundary pushing methods.

Un Chien Andalou

By the 1940s, surrealism and experimental filmmaking were further linked through the work of Maya Deren. Over time, she has proven to be one of the most influential experimental filmmakers of all time. She created a number of experimental short films, the first of which, Meshes of the Afternoon , is often credited as a turning point for experimental and avant garde cinema. The short remains a highlight of the genre more than 70 years after it was first released.

If you are interested in making your own short films, check out our how to make a short film guide first.

Meshes of the Afternoon  •  Maya Deren

Andy Warhol is a name well known in the pop art world, but he made numerous contributions to the experimental film world as well. Warhol made nearly 150 experimental short films throughout his lifetime, and a number of them made throughout the 1960s were considered important contributions to the form. Below is a compilation of six of Warhol’s shorts made between 1964 and 1966.

Andy Warhol’s Screen Tests

David Lynch is perhaps the most well-known filmmaker to consistently experiment in his films. He earned a spot on our list of the best directors of all time . Some Lynch projects explore a blend between experimental cinema and traditional filmmaking, while other Lynch projects comfortably fall into the “wholly experimental” category. Since his debut feature in 1977 with Eraserhead , Lynch has continued to employ experimental techniques in his feature films to this day. A significant degree of Eraserhead’s experimentation can be found in the atmospheric sound design . Listen closely to the trailer below.

Eraserhead  •  trailer

Now that we’ve explored a brief history of experimental filmmaking, let’s see if we can sort experimental films into a few distinct categories.

Experimental film examples

Types of experimental films.

Though experimental films in general can be a bit difficult to categorize as they defy convention by their very nature, there are a few common types we can examine from a bird’s eye view . The first type is: experimental films that challenge the form of filmmaking . This includes projects that defy the expectation of what a film is and manipulate the creation process, like Stan Brakhage’s Dog Star Man .

Dog Star Man  •  complete

This piece of experimental filmmaking was originally produced as four shorts before being compiled as a singular project. Dog Star Man is often hailed as an experimental masterpiece and was made through various manipulations to the film stock, experimenting with different exposure types, and radical editing techniques.

Another film that lands in the “challenges the form” category is Derek Jarman’s Blue . This one-hour-19-minute experimental film features just a single, unchanging visual for the entire duration: a solid blue screen. An intricately orchestrated audio track underscores the static visual, and the two combine to form a highly emotional experience.

Blue  •  Derek Jarman

Our next type of experimental film is the experimental documentary . Check out our list of the best documentaries to set a baseline for traditional documentary filmmaking before we jump into the experimental side of the genre. This experimental category encompasses projects like the nearly century old Soviet-produced Man With a Movie Camera . The full documentary is available to watch below.

Man With a Movie Camera

Another experimental documentary found in this category comes from none other than Orson Welles with For for Fake . This documentary, essay-film hybrid blurs the lines between fact and fiction in a fascinating way.

F for Fake Video Essay

Experimental Animation is a tried and true category of experimental filmmaking with many worthwhile and envelope pushing entries. Again, you can set a baseline for the non-experimental side of this genre by checking out our list of the best animated films ever made . As for the experimental side of the medium, first, we can return to David Lynch for his contribution to the category.

Six Men Getting Sick

The above short film, Six Men Getting Sick , was David Lynch’s very first foray into filmmaking. He began his journey into the arts as a painter, and you can see him bridging the gap with this painted filmmaking experiment.

For further examples of experimental animation, we can look to the Quay Brothers. Their shorts utilize a dreamy blend of stop-motion animation and puppetry. A number of their shorts are in the criterion collection; here is a highlight reel for four of their shorts.

Criterion teaser for the Quay Brothers

And for one last example of experimental animation found in a recent film, we can look to 2018’s German-Chilean production La Casa Lobo . Sculpture, stop-motion, traditional animation, and other artistic techniques were blended together in jaw dropping fashion that utilized life-size sets and dizzying camerawork. This experimental production pushes the boundaries of animation and accomplishes things never before seen in the medium. It gives the absolute best stop-motion films a run for their money.

The Wolf House  •  trailer

Experimental filmmaking remains alive and well in the modern filmmaking age. As long as there are boundaries left to push, filmmakers will continue to experiment.

What Was Dogme 95?

If you’re interested in experimental filmmaking, the Dogme 95 cinematic vow of chastity makes a fascinating case study into a radical filmmaking experiment. Learn about the movement, why and how it was created, the films that comprise it, and more, up next.

Up Next: What was Dogme 95? →

Showcase your vision with elegant shot lists and storyboards..

Create robust and customizable shot lists. Upload images to make storyboards and slideshows.

Learn More ➜

• Pricing & Plans
• Product Updates
• Featured On
• StudioBinder Partners
• Ultimate Guide to Call Sheets
• How to Break Down a Script (with FREE Script Breakdown Sheet)
• The Only Shot List Template You Need — with Free Download
• Managing Your Film Budget Cashflow & PO Log (Free Template)
• A Better Film Crew List Template Booking Sheet
• Best Storyboard Softwares (with free Storyboard Templates)
• Movie Magic Scheduling
• Gorilla Software
• Storyboard That

A visual medium requires visual methods. Master the art of visual storytelling with our FREE video series on directing and filmmaking techniques.

We’re in a golden age of TV writing and development. More and more people are flocking to the small screen to find daily entertainment. So how can you break put from the pack and get your idea onto the small screen? We’re here to help.

• Making It: From Pre-Production to Screen
• What is a Femme Fatale — Definition, Characteristics, Examples
• What is Method Acting — 3 Different Types Explained
• How to Make a Mood Board — A Step-by-Step Guide
• What is a Mood Board — Definition, Examples & How They Work
• How to Make a Better Shooting Schedule with a Stripboard
• 3 Pinterest

What Is Experimental Film: The Essential Guide

What is an experimental film? It’s a question that deserves an answer. It may also be the phrase most likely used to describe films in the most pretentious and least helpful manner possible. But what does it actually mean?

Etymologically speaking, there’s nothing particularly experimental about “experimental film.” The word comes from the Latin word experimentum or “test,” and was initially used in chemistry in reference to scientific experiments.

However, it soon found its way into other scientific fields, as well as philosophy and mathematics. The concept of a “test” soon became associated with pushing boundaries, trying new things, and generally not taking the easy road.

This isn’t too far off from how we use it today. Experimental films are typically more concerned with form than content. They can eschew traditional narrative structure or display techniques that aren’t commonly seen in mainstream cinema.  

What Is experimental film

What is experimental film.

Experimental film, also known as avant-garde film or underground film, describes a category of films that are often made outside of the mainstream commercial filmmaking industry.

The primary characteristic of experimental films is to focus on the exploration of new cinematic techniques and visual expression.

Experimental films are often either manipulated photographic images, collage films, short films , or a combination of all three.

Some feature abstract film techniques, sound manipulation, rapid changes in image size and style, or alternate frame rates. Some rely on mechanical devices that use optical effects such as mirrors.

Experimental film is a realm where filmmakers break free from conventional storytelling, exploring new narrative techniques and visual styles.

It’s where the norm is defied and creativity knows no bounds.

In our deep jump into the world of experimental cinema, we’ll uncover the essence of what makes a film ‘experimental’ and why these films are vital to the evolution of the cinematic arts.

We’ll explore the pioneers of this genre and their groundbreaking works that continue to inspire filmmakers and audiences alike.

Join us as we unravel the captivating elements of experimental film that challenge our perceptions and push the boundaries of what film can be.

Definition Of Experimental Film

When we jump into the essence of experimental film, we encounter a realm that transcends traditional storytelling.

These films are often characterized by their non-linear narratives and avant-garde aesthetic.

The very nature of experimental film defies easy categorization.

But, it’s essential to pinpoint certain elements that are hallmarks of this innovative genre:

• A focus on the visual and auditory experience over conventional narrative structure,
• The use of abstract or symbolic content to convey themes and emotions,
• An emphasis on the filmmaker’s personal artistic vision.

Filmmakers in this space are liberated from the constraints of commercial filmmaking.

Their works are personal and can be seen as an extension of the artist’s thoughts and feelings.

One might argue that experimental film is akin to poetry in motion.

Like a poem, these films invite multiple interpretations and affect viewers on a deeply subjective level.

Groundbreaking experimental works like Meshes of the Afternoon challenge audiences to engage with the medium in a radically different way.

These films often require an active viewer – one who’s ready to piece together the story from a disjointed narrative or to find meaning in a seemingly unrelated sequence of images.

The landscape of experimental film is ever-changing and hard to pin down.

It’s a genre that’s constantly evolving as artists push the boundaries of what’s possible within the medium of film.

Breaking Free From Conventional Storytelling

In the vibrant world of experimental film, we find a refreshing liberation from traditional cinematic narratives.

Conventional plots, predictable character arcs, and the familiar three-act structure are eschewed in favor of a form that’s boundless and unconfined.

Filmmakers venturing into this domain aren’t just telling stories – they’re exploring the medium itself.

Every shot, cut, and sound in experimental cinema is an opportunity to innovate and communicate ideas and emotions beyond the scope of words.

Drawn to the possibilities of the canvas that is the screen, artists behind experimental films use their visual lexicon to create unique experiences.

Consider the powerful aesthetics in Meshes of the Afternoon , where the visual language speaks volumes, rendering dialogue almost unnecessary.

The hallmarks of experimental film often include –

• Non-linear narratives – Innovative use of camera techniques and editing,
• Emphasis on mood and tone over plot,
• Abstract imagery to evoke a range of interpretations.

As filmmakers, our goal isn’t to simply entertain but to evoke, provoke, and question.

We aim to challenge the viewer’s perception and provide a cinematic experience that resonates on a deeper, often more personal level.

By deliberately stepping away from mainstream storytelling, experimental film opens up new horizons for cinematic expression.

The intersection of film and viewer in this arena is a space ripe for exploration, where the act of viewing becomes a participatory experience.

In embracing the experimental, we provide a counterpoint to the familiar, a contrast that often highlights the potential and elasticity of the film medium.

Audiences who step into the world of experimental film become part of a conversation – a dialogue between creator and consumer where the rules are rewritten with every frame.

Exploring New Narrative Techniques

In the world of experimental film, narrative takes on a form as malleable as clay.

We encounter stories that twist time, space, and reality to create something wholly unique.

Through various means – fragmented storylines , dream sequences , or unreliable narrator s – these films push the boundaries of how a story can be told.

One noteworthy approach to narrative is the use of hyperlink cinema .

Flicks like Babel or Syriana create a tapestry of interwoven story threads, connecting characters and events across different narratives.

This style mimics the interconnected nature of our digital world and offers a rich ground for exploration.

Experimental filmmakers often employ visual symbolism to convey meaning, sidelining traditional dialogue-driven plot development.

Consider The Tree of Life ; its visual sequences speak volumes without a single line of dialogue.

The essence of experimental narrative is to ask fundamental questions about cinema itself.

What are the limits of film?

How can we transcend them?

Such questions lead to techniques including:

• Non-linear storytelling,
• The use of montage to suggest rather than narrate,
• Mixed media formats that combine film with animation, still photography, or digital effects.

In our quest to understand experimental cinema, we look to pieces like Enter the Void .

It’s a film that shatters conventional narrative structures, offering a sensory overload that defies easy description.

The narrative unfolds not as a straight line but as a spiral, looping and re-looping through a character’s life.

We examine how Dogville stretches the concept of a set to its limits.

The film unfolds on a nearly bare stage, challenging audiences to enrich the sparse visuals with their own imagination.

The journey into the heart of experimental narrative techniques is an ever-evolving adventure.

As we jump into more films, we unlock new ways to mold and understand the stories we tell.

https://youtube.com/watch?v=ZiqBTZMJ-b0

Pushing The Boundaries Of Visual Styles

We see experimental films as audacious art forms that dare to challenge and redefine the aesthetic norms of mainstream cinema.

They plunge into uncharted visual territories, often achieving a unique cinematic language that can be both perplexing and fascinating.

These artistic ventures frequently embrace a variety of unconventional visual styles.

We’ve observed a range of groundbreaking approaches in films like Enter the Void where neon-drenched visuals complement a narrative that defies linearity.

One significant trend within these films is the manipulation of color and light to create an emotional impact.

We consider The Fall a prime example, with its kaleidoscope of vibrant hues painting each frame to not just tell a story but evoke a visceral response.

Experimental filmmakers also experiment with:

• Aspect ratios – altering the viewer’s perspective,
• Camera techniques – embracing handheld or drone footage,
• Post-production effects – using CGI to generate new realities.

By pushing these boundaries, film becomes more than storytelling; it becomes an immersive experience.

Under the Skin utilizes minimal dialogue paired with stark, haunting imagery to invite us deeper into the alien perspective of its protagonist.

Textures and patterns play an essential role as well.

They can transform the mundane into the extraordinary, like the intricate shadow play in The Cabinet of Dr.

Caligari, which still inspires filmmakers today.

Our exploration of experimental film reminds us that the medium is a canvas for innovation.

Each frame, with its meticulous composition and thoughtful design, can redefine what we consider possible in the art of filmmaking.

Pioneers Of Experimental Cinema

When we explore the origins of experimental film, it’s impossible to overlook the groundbreaking work of Maya Deren.

With her film Meshes of the Afternoon , she catapulted herself into the spotlight, setting a precedent for personal and avant-garde narrative structures in cinema.

She blazed a trail for filmmakers seeking to express complex subjects outside the confines of traditional storytelling.

Another luminary in the field was Luis Buñuel , whose collaboration with Salvador Dalí on Un Chien Andalou remains a quintessential work.

This film challenged viewers with its dreamlike sequences and stark, surreal imagery.

It demonstrated the power of cinema to tap into the subconscious, liberating film from the shackles of linear narratives.

Stan Brakhage, an icon of the American avant-garde scene, pushed the boundaries of what film could be.

His body of work, most notably Dog Star Man , exemplified the use of hand-held cameras and rapid editing.

Brakhage’s emphasis on visual perception as a personal, almost tactile experience redefined the role of the viewer.

The impact of these pioneers can be seen across various aspects of modern and classic cinema –

• Reinforcement of personal narrative,
• Exploration of dreamlike and surreal imagery,
• Challenge to traditional story structures.

Their contributions are not merely historical footnotes; they continue to influence filmmakers who strive to forge unique visual narratives.

These trailblazers showed us that experimentation isn’t just about breaking rules – it’s about creating a new language for storytelling that’s only bound by the limits of our imagination.

https://youtube.com/watch?v=wcr98xQ39-k

Groundbreaking Works And Their Influence

We can’t talk about experimental film without acknowledging Meshes of the Afternoon by Maya Deren.

This film set the stage for narrative flexibility in cinema.

With its circular story and symbolic imagery, it inspired filmmakers to jump into the subconscious of their audiences.

L’Âge d’Or , created by Luis Buñuel, disrupted the film industry with its bold critique of bourgeois society.

It used surrealism to unlock new forms of expression.

Buñuel’s work left a permanent mark on the film landscape by breaking down narratives steeped in reality and reimagining them through a dream-like lens.

Stan Brakhage’s Dog Star Man exemplified the power of editing to create meaning.

His splicing technique questioned the very essence of moving images.

Brakhage’s contribution lies in his ability to evoke raw emotions, encouraging filmmakers to explore the visceral potential of their medium.

These experimental films sparked movements which continue to influence today’s cinema:

• Meshes of the Afternoon paved the way for films that challenge linear storytelling,
• L’Âge d’Or served as a blueprint for satirical narratives in contemporary film,
• Dog Star Man remains a master class in editing, inspiring innovative ways to manipulate time and space on screen.

Their nonconformist methods were revolutionary.

They urged filmmakers to view the camera as an extension of the human eye.

Not just to capture reality but to create a tapestry of perception that defies it.

Each one of these works embodies experimentation beyond just form and narrative structure.

They embed complex themes and emotions into the visual language.

Our understanding of film as an art form is richer for their daring explorations.

Captivating Elements Of Experimental Film

Experimental film thrives on the fringe of conventional cinema, challenging viewers with its unique characteristics and aesthetics.

What Is Experimental Film – Wrap Up

We’ve delved into the essence of experimental film, uncovering its power to transcend traditional storytelling and engage us on a profound level.

These films challenge our perceptions, inviting us to experience cinema through a fresh, often avant-garde lens.

As we embrace the unconventional rhythms and narratives of experimental cinema, we’re reminded that film is not just entertainment but a dynamic art form capable of endless evolution.

Let’s continue to celebrate the bold creators who dare to express their visions without boundaries, forever changing how we perceive the art of filmmaking.

Frequently Asked Questions

What is the structure of experimental films.

Experimental films often feature a nonlinear structure that manipulates time, crafts fragmented storylines, and fosters unique connections with the audience.

How Do Visual Effects Enhance Experimental Cinema?

In experimental cinema, visual effects and editing techniques are used more for expressive purposes rather than simply for aesthetic appeal.

What Role Does Sound Play In Experimental Films?

Soundtracks in experimental films aim to defy conventional expectations and help create immersive and often unexpected auditory experiences.

Are Experimental Films Limited To Specific Genres?

No, experimental films are not confined to specific genres.

They often explore a wide range of philosophical and psychological issues.

How Do Experimental Films Utilize The Camera?

Experimental films push the boundaries of traditional camera usage, redefining it as a creative tool rather than a passive recording device.

How To Make A Storyboard Online: Techniques & Tips

Production Hacks For 2nd ADs On A Film Set

Matt Crawford

Related posts, what is animation definition & examples of animation in action, what is a visual metaphor: the definitive guide, what is a wide angle lens: essential guide, 51 of the most hilarious filmmaking images & memes, how to write and direct movie sex scenes: the essential guide, how to schedule a day for night scene: the definitive guide, leave a reply cancel reply.

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Username or Email Address

Remember Me

Registration is closed.

Pin It on Pinterest

WANT GET MORE CLIENTS & GROW YOUR VIDEO COMPANY TO 7-FIGURES PER YEAR?

Enter Your Details Below!

By Amelia Ames

April 17, 2017

After MoMA's Bruce Conner retrospective this past summer and the Whitney's celebrated "Dreamlands: Immersive Cinema and Art" survey, experimental film finally seems to be back on the New York art world's agenda. But for a long time, film was the thorn of art history after that thing called "Hollywood" came along, which threatened the avant-garde film's separation from mainstream cinema.

Experimental or avant-garde film can be traced all the way back to canonical artists like Marcel Duchamp and Many Ray , but what happens post-Hollywood? Here's a quick guide to postwar experimental film in the United States, ranging from Expanded Cinema of the '60s to the origins of underground queer cinema with artists like Jack Smith. We've got the critics and the crucial texts you need to read (each essay has been linked) and the artists you need to know.

Expanded Cinema of the '60s

Critic to Know: GENE YOUNGBLOOD Seminal Text to Know: Expanded Cinema (1970)

Gene Youngblood was a crucial theorist of media arts and alternative cinema during the 1960s and '70s. He was the first to consider video an art form, folding computer and media art into the genre. His seminal book Expanded Cinema was the first to define one of the most heterogeneous movements in film history. As you can probably guess from term, “expanded cinema” refers to cinema that expands beyond the bounds of traditional uses of celluloid film, to inhabit a wide range of other materials and forms including video, television, light shows, computer art, multimedia installation and performance, kinetic sculpture, theater, and even holography. Mixing psychedelic consciousness and Marxist theory, Youngblood explains “when we say expanded cinema we actually mean an expanded consciousness.” So if you’re still confused after seeing Stan Vanderbeek’s immersive psychedelic Movie Drome (1965) at the Whitney’s Dreamlands exhibition this year, take a look at the first chapter of Youngblood’s Expanded Cinema (the entire book is available on the PDF link above).

ARTISTS TO KNOW: Stan Vanderbeek, Carolee Schneemann , Malcom Le Grice, Mark Leckey

Found Footage Film

Critic to Know: CRAIG BALDWIN Seminal Text to Know: From Junk to Funk to Punk to Link : A survey of found-footage film in San Francisco Bay Area

Any narrative of postwar experimental film has to begin in California. Reacting against the expansion of Hollywood, experimental film was, in essence, a form of cinema that radically opposed the aesthetics and politics of mainstream media. The rise of psychedelic light shows, beatnik films, and alternative outdoor venues like Canyon Cinema (a filmmakers cooperative started by Bruce Baillie that exhibited independent, non-commercial film) all lead the Bay area to become an epicenter of avant-garde film in the second half of the century. Experimental filmmaker Craig Baldwin’s essay “From Junk to Funk to Punk to Link” is a must-read for anyone interested in a short genealogy of found footage film, seen in likes of Bruce Conner and Gunvor Nelson's work. A pioneer of found-footage himself, Baldwin remains in San Francisco to this day where he continues to program content for Artist’s Television Access, which broadcasts art films on Public-access television. For more on experimental film in the Bay Area click here to see the Berkeley Art Museum’s catalogue, “Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000.”

ARTISTS TO KNOW: Bruce Conner , Craig Baldwin, Robert & Gunvor Nelson, Chick Strand

Structuralist Film

Critic to Know: PETER GIDAL Seminal Text: "Introduction" of Structural Film Anthology (1976)

Structuralist or Materialist film is what Minimalism was to sculpture in the 1960s. In his paradigm book Structural Film Anthology (1976), English theoretician and filmmaker Peter Gidal writes frankly that "Structural/Materialist film attempts to be non-illusionist" in its attempt to "demystify the film process." Structuralist film, like Minimalist objects, doesn't actually represent anything. Instead, it exposes the relations between the camera and the way an image is presented, and explores the characteristics specific to the medium—spotlighting elements like flatness, grain, light, and movement. Tony Conrad's film The Flicker (1966), exemplary of the movement, consists purely of rapidly alternating black and white frames, achieving a kind of strobe light effect. If you're hesitant to submit yourself to the full fifteen minutes of Flicker (we don't blame you), then take a look at Gidal's introduction in the Structural Film Anthology to get a better idea about what this strange movement was really about.

ARTISTS TO KNOW: Tony Conrad, Hollis Frampton, Michael Snow

Feminist Film

Critic to Know: LAURA MULVEY Seminal Text: Visual Pleasure and Narrative Cinema (1975)

Laura Mulvey is a British feminist film theorist, currently teaching film and media studies at Birbeck, University of London. Drawing from psychoanalysts Sigmund Freud and Jacques Lacan, Mulvey’s seminal essay “Visual Pleasure and Narrative Cinema” (1975) was crucial in inaugurating the intersection of film theory, psychoanalysis, and feminism. Mulvey was the first to term what has come to be known as the “male gaze.” In the essay, she argues that classic Hollywood cinema inevitably positioned the spectator as a masculine and active voyeur, and the passive woman on screen as object of his scopic desire. The essay challenged conventional film theory and paved the way for an entire era of feminist artist’s work on the male gaze (think Cindy Sherman’s Untitled film stills.). After reading “Visual Pleasure and Narrative Cinema” you’ll never look at a Hitchcock or John Wayne the same.

ARTISTS TO KNOW: Peggy Ahwesh, Barbara Hammer, Laurie Simmons

Camp & Queer Cinema

Critic to Know: SUSAN SONTAG Seminal Text: "Notes On Camp" (1964)

Susan Sontag was one of the most revered writers, filmmakers, political activists, and critics of her generation. Sontag wrote extensively about photography, culture and media, AIDS, and the Vietnam War. Sontag’s most well known essay, “Notes on Camp,” is crucial for anyone interested in the legacy of queer filmmakers like Jack Smith, who is most known for his banned film Flaming Creatures (1963) that right-wing politician Strom Thurmand mentioned in anti-pornography speeches. Although Sontag does not define camp, she writes that the essence of a “camp” sensibility lies in “its love of the unnatural: of artifice and exaggeration.” For anyone interested in the kitschy, exotic films of Jack Smith and underground Queer Cinema, Sontag’s “Notes on Camp” is a must.

ARTISTS TO KNOW: Jack Smith, Andy Warhol , Isaac Julien

[related-works-module]

Related Works

Cindy Sherman

C-print on Kodak matte paper

Related Articles

Current Shows

Receive our award winning emails & enjoy 10% off your first purchase, thanks for signing up for our newsletter., that email has already been subscribed..

Now, personalize your account so you can discover more art you'll love.

a treasure trove of fine art from the world's most renowned artists, galleries, museums and cultural institutions. We offer exclusive works you can't find anywhere else.

through exclusive content featuring art news, collecting guides, and interviews with artists, dealers, collectors, curators and influencers.

authentic artworks from across the globe. Collecting with us means you're helping to sustain creative culture and supporting organizations that are making the world a better place.

with our art advisors for buying advice or to help you find the art that's perfect for you. We have the resources to find works that suit your needs.

INSIDER ACCESS TO THE WORLD'S BEST ART

Artspace offers you authentic, exclusive works from world-renowned artists, galleries, museums and cultural institutions. Collecting with us helps support creative culture while bringing you art news, interviews and access to global art resources.

COLLECT FROM 300+ GALLERIES & MUSEUMS

Sign in for personalized experiences, exclusive access to new works, special offers, invitations and features.

Collect the world's best

Sign up to view price and receive personalized experiences exclusive access to new works, special offers, invitations and features.

Thank you for signing up

Tailor your art, news & information to your preferences.

THANK YOU FOR SIGNING-UP TO ARTSPACE

Welcome to the world's premier online marketplace for fine art.

Enjoy 10% on your next purchase by using coupon code WELCOME10 at checkout.

THANK YOU FOR RETURNING TO ARTSPACE

The world's premier online marketplace for fine art.

Enjoy 10% on your next purchase by using coupon code PHAIDON10 at checkout.

Forgot your password?

Please enter your email below and we will send you a new password.

We've emailed you a new password. Sign In

Interested in Firstname Lastname?

To follow this artist and get updates on new work & exclusives, you must be signed into your Artspace account. Don't have one? Create one now.

You are now following first name last name

Interested in saving this work.

To save this work to your personal gallery and to access other features like this, you must be signed into your Artspace account.

prompt placeholder

A Critical Guide to Understanding Experimental Film

Share this article

Use this form to share great articles with your friends.

Enter your email

Enter your friend's email

Your message was sent

Thank you for sharing with your friends.

• Share on Facebook
• Share on Twitter
• Share on Pinterest

Your email has been submitted and a 10% off discount code sent to you. Next, personalize your Artspace experience by creating an account.

Please select the statement that best describes you:

• I am an existing collector.
• I am a new and aspiring collector.

Types of art that interest you

Select all that interest you:, partners you'd like to follow, enter or select all partners that interest you:.

Your preferences have been saved to your account. Update them at any time in your Preference Center

How it Works

How bidding works.

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bid Increments

Bidding increments increase at the following intervals:

• Below $400: $50
• Between $400 and $699: $100
• Between $700 and $1,499: $200
• Between $1,500 and $2,499: $300
• Between $2,500 and $4,999: $500
• Between $5,000 and $9,999: $1,000
• Between $10,000 and $19,999: $2,000
• Between $20,000 and $29,999: $3,000
• Between $30,000 and $49,999: $4,000
• Between $50,000 and $99,999: $5,000
• Above $100,000: $10,000

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Maximum Bidding

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

Buyer's Premium & Additional Charges

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

Auction Pre-Registration

Credit Card Validation

In order to secure a bid, please enter your credit card details below. We will not charge your card but only use it to validate your bid. We only need to validate your card once. You will be notified that you are the winning bidder before your card is charged, and you will have the option to change your payment method at that time.

Create an Artspace account

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

• White Satin
• Honey Pecan
• Black Satin

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

Acrylic Glazing

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

For images up to 30" x 40"

• 1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.
• We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

For sheet sizes larger than 30” x 40”

• Please contact an Artspace advisor for a custom quote.

Artists you'd like to follow

Enter or select all artists that interest you:.

What Are Experimental Films? History, Example, And Movements

Being a student and a devotee of cinema, you must have come across the term “experimental films” or “Avante Garde”. You must have noticed that the works of certain directors are a little, well, a little more than a little different, from the mainstream structure of cinema that we know today.

When you are watching films of directors like Gasper Noe or David Lynch , you must notice how they are different from the conventional modes and standards of filmmaking . But if you look closely, they might come off to you as a little odd at first, but underneath you’ll find a particular ideology and message. 

Since the invention of the camera, it has undergone several experiments. Along with experimental ideologies to capture an image perfectly, the concept of a series of moving pictures was developed. Hence, it can be considered that cinema was born out of experiments as well. 

But how is an experimental film different from all other films whose roots were formed out of experiments as well? Although experimental films cannot really be categorized as a genre of film , it is definitely a particular style and process of filmmaking with an inherent motive.

Table of Contents

What is Experimental Film?

To begin with, there is no solid definition to explain what is an experimental film. The word Avant-Garde is a military term that means foreguard. In the context of cinema, Avant-Garde is used to refer to a particular aesthetic set of films or style of filmmaking that started immediately after the first world war.

Experimental or Avant-Garde cinema was made with an approach to defy and reject the conventional standards of filmmaking and ridicule the plot and character set of mainstream cinema.

The purpose of experimental cinema was to go beyond the limits of the orthodox standards of narrative filmmaking and bring out cinema as a unique art form itself, instead of being just a mere adaptation of other art forms like literature, paintings, music , etc.

Experimental filmmakers changed the perspective of filmmaking as they challenged the middle-class notions of mainstream narrative films and promoted the concept that there are limitless ways to create art through cinema and not just the one traditional way of filmmaking.

The theoretical approach of traditional cinema addressed the naturalist tendencies of representations, yet, the Avant-Garde filmmakers wanted to represent cinema on a more psychoanalytical level.

The motive behind making an experimental film is hard to generate revenue, instead, represents the artist’s personal vision and while most of these films are underground and independent, they have an inherent motive to make the audience view the world from a different perspective.

You might notice that most experimental films are odd and abstract in their own sense, but that doesn’t mean the artist can arrange any form of abstractionism in their film to make it a part of experimentation in cinema. However abstract or odd they might seem, these films always have a meaningful perspective hidden underneath, mostly the artist’s personal outlook on a particular subject.

The experimental films generally follow certain characteristics such as:

• These films generally tend to be low-budget. Mostly these are independent or underground and mostly the artists use their own money.
• Experimental films typically reject the linear narrative structures of other films and also do not generally focus on particular narration or storytelling
• Generally, focus on abstractionism and surrealism.
• Avant-Garde films are an extraction of the experimental art movements themselves and thus they respect other art, literature, politics, and culture.

A brief history of Experimental Films

After the invention of motion picture technology at the end of the 19th century, there was no immediate grammar established for cinema. If you watch the works of The Lumiere Brothers closely, they were mere representations of archives from the world around, a form of a documentary .

By the beginning of the 20th century, films had already taken a narrative form. Great filmmakers like Georges Méliès , with his early works like A Trip to the Moon , had already transformed cinema from a form of documentation to a medium of storytelling .

America soon adopted this format of cinema. D.W. Griffith with his debut, The Birth of a Nation had completely changed the Hollywood scenario. The epic silent feature was a milestone in film history and soon became Hollywood’s first-ever blockbuster hit. 

Hollywood had already started employing the Aristotelian structure of storytelling and with several experimental formats from the soviet productions, or the german expressionists a particular grammar for the language of cinema had developed. 

It was around the 20s when a small group of theorists like Louis Delluc, Germaine Dulac, and Jean Epstein, sought to create a different form of cinema, calling it Avant-Garde, which completely rejected the pre-established theories of mainstream narrative cinema.

These artists looked at the conventional cinema following the Aristotelian structure as bourgeois and argued how commercial and artificial the imitation was. They also sought the mainstream cinema to be limiting as the other filmmakers never thought about other variations and styles of representation. 

Soon a drive started to change the course of cinema and put a bar on middle-class values of traditional films and their storytelling structure. The horizons of cinema were explored and as more experimentations were introduced, the possibilities of cinema being represented as a unique art form increased.

Today, the Avant-Garde styles have become a bigger cultural aspect and somehow have their influence in every film, however small it may be. This global recognition also gave this art form the responsibility of addressing and representing several topics and issues generally avoided in conventional narrative cinema.

Reluctantly Queer is a 2016 short film directed by Akosua Adoma Owusu is a great experimental film example of recent times. The film shows the unsettling life of a young man in Ghana struggling to reconcile his love for his mother with his love for same-sex desire. This film thus eventually also addresses the increased tensions caused due to same-sex politics in Ghana.

Experimental Film Movements

Before studying some concrete Avante-Garde film movements, we must learn about subjective films.

Subjective Cinema: The term subjective generally defines a person’s particular opinion or perspective. So how does it apply in cinema?

A subjective film offers you, the audience, to see and experience whatever the character in the scene is actually looking at. Like in a POV or Point of View shot, instead of watching the character in the scene looking at something, you actually see his point of view.

Subjective Cinema, although not, particularly an Avante-Garde film movement, yet a very important style of filmmaking and adds up to several other styles of experimental filmmaking.

This form broke the conventional mode of representation of cinema.

From the ideology of keeping the camera at the character’s eye level to letting the audience view through his eyes, filmmakers often use other techniques as well, to make the audience experience what the character is experiencing on screen. 

The usage of shaky cam, pan follow, or often shifting to handheld, all of these camera techniques give you an insight and let you experience the narrative the way the character is experiencing.

Thus, to have a clearer idea, subjectivity in films is not just the representation of what the character sees, but an overall psychological representation of the character going through an event.

Let us take a look at a contemporary example of subjectivity in film. In the opening scene of Steven Speilberg ’s Saving Private Ryan , where Captain Miller ( Tom Hanks ) is momentarily facing a bombshell shock. Speilberg really subjectifies the entire scene and all you can see are shaky shots of a shaken Captain Miller and the sound is morphed and dampened, momentarily, to make the audience experience a shell shock by themselves.

The concept of subjectivity rose the tendency to promote new possibilities of cinema and make it stand out as a different art form and 

Now coming to the major Avante Guard or experimental film movements,

The Cinéma Pur – Meaning “Pure Cinema”, this Avante-Garde movement originated in Paris in the 20s. This type of filmography mainly focused on the composition of the frames and the movements and rhythms inside the frame, without any particular focus on the narrative. 

Also referred to as absolute film or integral or true cinema, this type of non-narrative representation was mainly focused to create a cinematic experience in its purest form by giving importance to the distinctive qualities of a film like its visual composition.

The main motive behind pure or absolute cinema was to represent it as its own art form and not a mere adaptation of literature or paintings. Hence, pure cinema is devoid of narrative and characters and thus portrays an abstract story while focusing mainly on filmmaking techniques such as framing, several distortions of the image, several camera movements and so.

Meanwhile, the Dadaist ideology behind experimental filmmaking, with a similar non-narrative approach immersed as a part of the pure cinema movement itself. The dada ideology considered the mainstream narrative film to be a bourgeoise convention and thus their approach was to mock the Aristotelian notions of space and time in a story and ridicule the plot, setting, and character module of a typical genre film. 

During the 20s, the Soviet filmmakers had already introduced several filmmaking techniques, with the Kuleshov effect introduced by the great film theorist Lev Kuleshov and Sergei Eisenstein started using the soviet montage technique in his films like Battleship Potemkin (1925) .  This technique used the juxtaposition of several shots to convey a particular message.

This approach to filmmaking that relied heavily on editing and assembling of the shots influenced several new kinds of documentary films as well, such as Dziga Vertov ’s Man with a Movie Camera . In his film, Vertov did not particularly focus on any narrative or a story, rather portrayed his film as a collective set of several shots without any particular story cut out of it. 

The Surrealist Movement – While the Soviet experimental filmmakers focused majorly on editing, the other side of Europe started representing the Freudian terms of the unconscious in their cinema. 

Surrealism was already a major art movement in the aftermath of the first world war and great artists like Andre Breton and Salvador Dali had revolutionized the whole art sector by providing a new light and a new context.

Surrealism started off as a cultural movement in which the artists depicted illogical scenes which were a representation of the unconscious mind. Soon this mode of representation was adopted in cinema. With its origins in the 20s in Paris, the surrealist movement soon became a modernist approach to cinema.

Sigmund Freud’s work “The Interpretation of Dreams” was a major influence on this movement. This type of experimental film used several illogical scenes and depictions of Freud’s dream symbolisms and thus challenged the conventional modes of representations.

These types of experimental films do not just retell the dreams or stories but replicate the entire process of the dreams of the unconscious through several filmmaking techniques and the usage of particular types of irrational or disturbing scenes, that may look absurd but have a deeper expression and meaning rooted into it.

 Although the 1928 experimental film, The Seashell and the Clergyman directed by Germaine Dulac is considered to be the first surrealist film, it was the 1929 Franco-Spanish film Un Chien Andalou , that set a standard and completely changed the course of surrealist films.

Un Chien Andalou, by Luis Bunuel and Salvador Dali, was made using the free-association technique pioneered by Andre Breton. This short experimental film was essentially silent, but later in 1960, music from Richard Wagners Tristan and Isolde was added.

The film starts off with the eye of a woman being cut with a razor, uses several other strong and aggressive imageries like the depiction of sadism, sexual harassment, fetishism, manipulating space and time by using several jump cuts, and also avoids the conventional narrative structure by randomizing the arrangement of scenes without any particular single storyline.

This film stands to be the most significant work in the entire movement and provokes a moral impact on the viewer. Even though this film shows scenes severely threatening women and punching them down to mere sexual beings, this actually helped the female surrealists to reclaim their position in the movement.

The surrealist tendency of filmmaking was soon adopted in Hollywood. One of the most influential American surrealist filmmakers, Maya Deren , although completely rejected the European standards of Surrealist filmmaking, her debut work Meshes of the Afternoon still remains one of the most significant and influential works in terms of American surrealism.

In her film, she rejects the general linear narrative approach of mainstream Hollywood films, and wanted to portray the inner realities of an individual, and represents the interpretation of the unconscious for a simple event and turns it into a severe emotional experience.

Here she repeats several images, disregards and mismatches the objective view of space and time in the film, and represents the traits of her own inner subconscious.

Futurism – The futurist is an Italian cultural movement that started around 1916, by the Italian poet Filippo Tommaso Marinetti, who had also written the futurist manifesto. This movement mainly focused on the dynamism, speed, energy, and the technical progress of modern life, or rather, the machine age.

The futurists considered that the world was stuck as boring and old-fashioned, and wanted to look forward, primarily by celebrating innovation, dynamics, modernity, and speed.

This art movement soon coincided with cinema and became a form of experimental or Avante Garde films. Futurist cinema mainly represented a different perspective to represent a futuristic world. New innovations, development in technologies, and changed adaptations of speed and dynamics were the primary focus.

In cinema, futurism also had a shared influence with cubism where it showed a new powerful world adapting and coinciding with technology way ahead, yet mankind is still in power and controls the order of the new world harnessing the strength of modern innovations. Yet, on some grounds, futurist cinema also differs from cubism as it often shows the anticipated destruction brought by advanced technology.

Thaïs (1917) made by Anton Giulio is the only surviving 1910s futurist cinema, although only 35 minutes of it is available to us today in its 70 minutes entirety. 

Fritz Lang’s Metropolis (1927) is an early German science film based on futurist principles, representing a stylized futuristic city and the conflict between the privileged and the poor with the existence of a culturally utopian society and a population of mistreated workers underneath.

Experimental Filmmakers over the years

Over the years, experimentalism has had a huge impact on the course of cinema, and this in turn has led to a massive influence on the socio-cultural acceptance of the approach to breaking the conventions of traditional cinema.

Over the years, the tradition of experimentation has passed on and the traits and styles, and methods of Avant-Garde filmmaking are still put to use by several filmmakers, even without the proper intention of making a complete experimental film.

How little it may be, experimentation remains a part of major revolutionary films. Taking the title sequence of Gasper Noe’s Enter the Void into consideration, the entire sequence is a unique form of experimentation itself.

The title sequence was made by the German experimental filmmaker Thorsten Fleisch , whose other influential works also include the 2007 short film Energie! , in which he transformed his fascination with Tesla coils into an art form itself. By exposing photographic paper to high voltage and then arranging these forms of “electrophotography” into a kind of flipbook. 

Filmmakers over the years have drawn experimentation in several forms to merge with their respective genres of narratives. For example, Richard Linklater uses experimentalism in his brilliant rotoscope animated film Waking Life .

The core aspects of the futurist movement form the structure for the science fiction films known to us today. Blade Runner (1989) is a great example that is mostly based on futurist Avant-Garde principles and has a great influence on early futurist films like Metropolis, showing a dystopian future with massive technological advancement and innovation taking over humanity.

Filmmakers often incorporate Avant-Garde styles to carve out horror narratives, so much so that experimental horror as a sub-genre stands out quite prominent. David Lynch is a mastermind to use these techniques, adding surrealism and abstractionism to give a new structure to the mode of storytelling and by the end of the film, leave us “Lynched”.

You’ll never be expected, how just a thriller story will turn into an odd, abstract, and dream-like mystique sequence, in Mulholland Drive . On the other hand, the entire narrative of Eraserhead is just weird in the conventions of traditional storytelling, yet the psychoanalytical approach to it is so powerful.

Rabbits (2002) , is another such tool to make you “Lynched”, which is a series of eight short films made in a classic sitcom format of narrative, yet, there is a completely different and horrific tone to the entire film which is almost quite uncomfortable to be considered as a comic approach.

Although experimental films were never massive box office hits, rather, were never intended to, and were seen only by a small group of like-minded audiences. Yet, this did not limit the effect Avant-Garde movements have had on modern-day cinema. 

Several techniques used by Avant-Garde filmmakers have stood as an important development in many sectors of filmmaking like editing, visual effects, cinematography , storytelling or narrative structure, and the overall aesthetics and presentation. These all play a significant role in modern-day filmmaking. 

As I have discussed before how the experimentalism and Avant-Guarde movement today is playing an important role in addressing several topics which mostly fall apart from being addressed in traditional narrative films, people all over the world have started noticing the values of this movement.

The once small and limited community of this art form is growing every day and today there are several experimental film festivals solely dedicated to bringing together and promoting the Avante-Guarde art movement. Some of the popular ones are Chicago Underground Film Festival, New York Underground Film Festival, Brooklyn Underground Film Festival, PollyGrind Film Festival, and many more.

In the present time, experimental filmmaking is still a very prominent influence in the world of cinema and its styles and modes are adapted by filmmakers in several aspects since the horizons of cinema are yet too vast, new forms of experimentation will continue to be explored while the influence of films on our society and culture grows stronger.

Being an avid film buff and a content marketer, I started this blog to provide the best information on screenwriting and filmmaking. Screenplays is certainly where it all begins. However, I also provide writing and advertising tips regularly through my articles.

Similar Posts

What does a film loader do on a film set.

The role of a film loader is crucial to the smooth operation of a film set. Their responsibilities encompass…

What Does a Re-Recording Engineer Do for a Film?

In the world of film production, the role of a re-recording engineer is crucial in ensuring the overall quality…

10 Best Photography Courses Online On Udemy And Coursera in 2023

Photography is an art form that has become more accessible than ever before, thanks to advances in technology. Whether…

The Impact of Films on Society and Their Importance

Photo by Krists Luhaers on Unsplash Ever since motion picture technology was invented more than a century ago, artists…

What Does a Lead Persons Do for a Film?

Are you curious about the intricate world behind the scenes of filmmaking? From the visionaries who bring stories to…

5 Best Acting MasterClasses from Celebrities for Beginners and Pros too

Acting is an extremely competitive field to get into. Much like all of the show business, actors have to…

• Screenwriting \e607
• Directing \e606
• Cinematography & Cameras \e605
• Editing & Post-Production \e602
• Documentary \e603
• Movies & TV \e60a
• Producing \e608
• Distribution & Marketing \e604
• Festivals & Events \e611
• Fundraising & Crowdfunding \e60f
• Sound & Music \e601
• Games & Transmedia \e60e
• Grants, Contests, & Awards \e60d
• Film School \e610
• Marketplace & Deals \e60b
• Off Topic \e609
• This Site \e600

What are the Best Experimental Films of All Time?

It's time to check out the other side of filmmaking..

Endless Poetry by Jodorowsky

Sometimes I get so caught up in narrative cinema that I forget there's a whole realm of artists out there doing beautiful and interesting work on the experimental side of things. Experimental film is so much fun. It's a place where all artistic representation matters, and it's somewhere I go when I want to be challenged.

If you've never fully indulged in the weirder, artsier side of cinema—or are already a fan and want to celebrate it—I want to take you through the world of experimental movies, with some history and characteristics, and dig into some of the greatest to ever grace our screens.

Sound good?

Let's dive in.

What is Experimental Film?

The experimental genre in film and TV refers to productions that deviate from the traditional narrative structure and style of mainstream entertainment.

These productions often challenge viewers to think outside the box and explore unconventional ideas and perspectives.

It is characterized by its willingness to take risks and push boundaries, whether through abstract visuals, innovative storytelling techniques, or unconventional editing styles

The Characteristics of Experimental Film

Many experimental films use other disciplines like painting, dance, literature, and poetry.

What I love about this is is that its art that's being created mastering other art. And as new artistic endeavors arise, we often see that added into experimental outputs.

Key Characteristics:

• Non-linear Narrative: Experimental films often lack a traditional plot or linear narrative structure. They may be abstract, fragmented, or entirely devoid of a storyline.
• Visual and Sound Experimentation: These films often experiment with visual and sound elements, using techniques like collage, montage, superimposition, slow motion, and distorted or manipulated sounds.
• Exploration of Themes: Experimental cinema can explore a wide range of themes, including the subconscious, dreams, memory, perception, identity, and social and political issues.
• Personal Expression: Many experimental films are deeply personal works, reflecting the filmmaker's unique vision and artistic expression.

Experimental Film Techniques:

• Found Footage: Using pre-existing film or video footage in a new context.
• Direct Animation: Scratching or painting directly onto film strips.
• Structural Film: Focusing on the material properties of film, such as light, movement, and time.
• Expanded Cinema: Combining film with live performance, installation art, or other multimedia elements.

A Brief History of Experimental Film

film-grab.com

The roots of experimental cinema can be traced back to the early days of filmmaking, with filmmakers like Georges Méliès experimenting with visual effects and trick photography in the late 19th century.

However, it was during the early 20th century, with the rise of Dadaism and Surrealism, that experimental cinema truly began to flourish. These art movements, with their emphasis on challenging conventions and exploring the subconscious, found a natural expression in the medium of film.

In the 1920s and 1930s, filmmakers like Luis Buñuel and Salvador Dalí created surrealist films that shocked and bewildered audiences with their dreamlike imagery and unconventional narratives.

These early experiments paved the way for a wave of avant-garde filmmakers in the postwar era, who pushed the boundaries of cinema even further.

The 1960s and 1970s saw a surge in experimental filmmaking, with filmmakers like Stan Brakhage, Maya Deren, and Kenneth Anger exploring new techniques and pushing the limits of what was considered possible in film.

These filmmakers often worked outside of the mainstream film industry, creating films that were personal, challenging, and often deeply political.

The Impact of Experimental Film Across the Globe

Experimental cinema challenges viewers to rethink their expectations of what a film can be. It encourages critical thinking, provokes emotional responses, and opens up new possibilities for artistic expression.

These films have often been at the forefront of social and political movements, challenging dominant ideologies and giving voice to marginalized communities.

While experimental films may not always be commercially successful or widely seen, they have a significant impact on the world of art and culture.

They have influenced mainstream filmmakers, inspired new artistic movements, and sparked important conversations about the nature of reality, perception, and human experience.

Artistic Influence:

• Mainstream Cinema: Experimental film techniques and aesthetics have been adopted and adapted by mainstream filmmakers. For example, the use of montage, slow motion, and fragmented narratives can be traced back to early experimental films.
• Music Videos: The music video industry is a direct beneficiary of experimental film. The use of visual metaphors, rapid editing, and unconventional storytelling in music videos often draws inspiration from experimental cinema.
• Visual Arts: Experimental film has had a profound impact on visual artists. The use of found footage, collage, and manipulation of film stock has inspired many artists to experiment with new forms and techniques.
• Other Art Forms: The influence of experimental film extends beyond the visual arts. Its impact can be seen in dance, theatre, and literature, where artists have embraced non-linear narratives, fragmentation, and experimentation with form.

Cultural and Social Impact:

• Challenging Conventions: Experimental film has always challenged societal norms and conventions. It has often tackled taboo subjects, questioned authority, and given voice to marginalized communities.
• Political Activism: Experimental filmmakers have often used their work as a tool for social and political activism. They have shed light on social issues, challenged oppressive regimes, and advocated for change.
• Global Dialogue: Experimental film festivals and screenings provide a platform for filmmakers from around the world to share their work and engage in dialogue. This cross-cultural exchange of ideas and perspectives has enriched the global film community.

Specific Examples of Global Impact:

• Latin America: The Third Cinema movement in Latin America in the 1960s and 1970s was heavily influenced by experimental film. Filmmakers used cinema as a tool to challenge political oppression and social injustice.
• Japan: The Japanese avant-garde film movement in the 1960s and 1970s produced a wealth of experimental films that challenged traditional Japanese aesthetics and explored new forms of expression.
• Europe: European experimental film has a long and rich history, with filmmakers pushing boundaries and experimenting with new technologies. The European avant-garde has inspired filmmakers around the world.
• Africa: African experimental filmmakers have used film to document social and political struggles, challenge stereotypes, and express unique cultural identities.

The Best Experimental Films

So, what are the best experimental films of all time?

The following list showcases 50 of the most groundbreaking and influential experimental films of all time, spanning various eras and styles.

There is so set order, just a bunch of ones I think everyone should check out.

• Un Chien Andalou (1929) - Luis Buñuel and Salvador Dalí
• Meshes of the Afternoon (1943) - Maya Deren and Alexander Hammid
• Entr'acte (1924) - René Clair
• Man with a Movie Camera (1929) - Dziga Vertov
• L'Age d'Or (1930) - Luis Buñuel
• A Movie (1958) - Bruce Conner
• Wavelength (1967) - Michael Snow
• Dog Star Man (1964) - Stan Brakhage
• The Blood of a Poet (1930) - Jean Cocteau
• Scorpio Rising (1963) - Kenneth Anger
• Inauguration of the Pleasure Dome (1954) - Kenneth Anger
• Flaming Creatures (1963) - Jack Smith
• Rose Hobart (1936) - Joseph Cornell
• Mothlight (1963) - Stan Brakhage
• La Jetée (1962) - Chris Marker
• Fuses (1964) - Carolee Schneemann
• The Dante Quartet (1987) - Stan Brakhage
• Line Describing a Cone (1973) - Anthony McCall
• Light Is Waiting (2007) - Michael Snow
• The Flicker (1966) - Tony Conrad
• Ballet Mécanique (1924) - Fernand Léger
• The Seashell and the Clergyman (1928) - Germaine Dulac
• Anemic Cinema (1926) - Marcel Duchamp
• Berlin: Symphony of a Great City (1927) - Walter Ruttmann
• Emak Bakia (1926) - Man Ray
• Ritual in Transfigured Time (1946) - Maya Deren
• At Land (1944) - Maya Deren
• A Study in Choreography for Camera (1945) - Maya Deren
• The Very Eye of Night (1958) - Maya Deren
• Window Water Baby Moving (1959) - Stan Brakhage
• Bridges-Go-Round (1958) - Shirley Clarke
• Serene Velocity (1970) - Ernie Gehr
• Zorns Lemma (1970) - Hollis Frampton
• The Act of Seeing with One's Own Eyes (1971) - Stan Brakhage
• The Girl Chewing Gum (1976) - John Smith
• Report (1967) - Bruce Conner
• Reassemblage (1982) - Trinh T. Minh-ha
• Tongues Untied (1989) - Marlon Riggs
• Handsworth Songs (1986) - Black Audio Film Collective
• Symbiopsychotaxiplasm: Take One (1968) - William Greaves
• The Clock (2010) - Christian Marclay
• The Grand Bizarre (2018) - Jodie Mack
• Leviathan (2012) - Lucien Castaing-Taylor and Véréna Paravel
• Sans Soleil (1983) - Chris Marker
• Decasia (2002) - Bill Morrison
• Blue (1993) - Derek Jarman
• Last Year at Marienbad (1961) - Alain Resnais
• Persona (1966) - Ingmar Bergman
• Tetsuo: The Iron Man (1989) - Shinya Tsukamoto
• Eraserhead (1977) - David Lynch

This list barely scratches the surface of the vast and diverse world of experimental cinema.

Each film on this list represents a unique and daring exploration of the medium, pushing the boundaries of what is possible in film and leaving a lasting impact on the world of art and culture.

But maybe I left off your favorite. If so, I want to hear about it.

Let me know what you think in the comments.

• How Can You Get Narrative Ideas From Watching Non-Narrative Films? ›
• Charlie Cole's Experimental Short 'Waterfall' Reminds Us of The Importance of Form ›
• Experimental Filmmaking for Dummies (Part 1): Why You Should Be Making Experimental Films ›
• Where is a good online place for new experimental film/video? - Quora ›
• 50 Avant Garde and Experimental Cinema Gallery ›
• What are some good experimental films? : r/flicks ›

How to Write the Best Fight Scenes

Ready for battle here are 5 tips to punch-up your fight scenes.

So you’re midway through act one and it’s time for your characters to throw down. Writing a fight scene can put a lot of pressure on the screenwriter. It’s hard to know how the fight will look on the page. You don’t want it to go on too long, and you don’t want it to be so short there’s no tension. And what if you've got multiple people throwing down at once?

This is also where the internal and external conflict comes into play. Tread carefully!

It's awesome fight scene day at No Film School . And while no fight scene will be as awesome as this one from Undefeatable (1983) - which you can check out in this behind-the-scenes interview here - let's take a look at how you can learn to write some punched-up, high-kicking fight scenes of your own.

How To Write Fight Scenes in Your Screenplay

Writing fight scenes is more than just blocks of action. You need to keep in mind the flow of the story, the tone, and even the characters relations to the setting around them.

If you're new to screenwriting or want to brush up on your action writing techniques, I recommend this video from John August .

For the rest of you, let’s jump right into learning how to write fight scenes.

1 - Make Your Fight Scene Personal

In general, you want the stuff happening in your screenplay to matter to the characters. That’s like... rule one of all screenwriting. And fighting is no different.

Still, in action scenes, it’s easy just to have random people attacking. You want punches to be thrown, but you want the consequences of those punches to matter personally.

Think about the scene in Fight Club where Edward Norton beats himself up.

_________________________

Jack PUNCHES HIMSELF in the nose. Blood starts to trickle.

He punches himself in the jaw, throws himself back as if by the force of the punch, SLAMS against a framed picture and SHATTERS the glass. He falls to the floor. JACK (V.O.) I Am Jack's Smirking Revenge. Jack gets back to his feet. JACK Please... don't hit me again, please. I'm your responsibility... He PUNCHES himself in the stomach, then in the jaw again. He reels backward, pulls down a hanging shelf, its contents flying. He hits the floor. JACK (V.O.) For some reason, I thought of my first fight -- with Tyler. Jack crawls toward Boss, dripping blood, grabs Boss's leg. JACK Please... give me the paychecks like I asked for. I won't be any trouble. You won't see me again. Jack climbs up Boss's leg while Boss tries to shake him off. Boss stumbles back into his desk, knocking off belongings. JACK (V.O.) Under and behind and inside everything this man took for granted, something horrible had been growing. Jack crawls high enough to grab Boss's belt, hoisting himself up. He dribbles blood a Boss's clothing, SMUDGES blood from his face onto the knuckles of Boss's hand. JACK Please... please... JACK (V.O.) And right then, at our most excellent moment together... Two SECURITY GUARDS enter and gape at the sight. Behind them stand CURIOUS WORKERS, looking in. JACK (gurgling blood) Please don't hit me again.

Now, this scene is exceptionally personal, because its a guy beating himself up. But look at the way the beats are laid out on the page.

The writing is sparse. We feel every punch, but it doesn't go overboard. We know WHY this is happening, and we have the execution for how it should happen as well.

It also reads fast - we are always moving.

It creates tension between two people. In this scene, even though Jack is the aggressor, he's also the one being hit. This juxtaposition gives the audience a clear person to root for, and clear emotions about the scene.

We’re rooting for Jack’s toxic masculinity here. Even though the boss is a victim in this situation.

This fits the theme of the screenplay and leads us into our next fight scene tip.

2 - The Best Fight Scenes Fit the Rest of the Script

Now, all the examples you see here will fit the tones of their respective screenplays, because professional screenwriters wrote them. And I think it would be mean to just grab some bad ones and shame those people.

I’m not into being mean. This is a "writing fight scenes" post. But I don’t want to hurt you.

In a movie like The Hunger Games , the violence is antithetical to the message. That means if you're writing a script about how you want violence to end, you have to make the action on the page both exciting and reconcile that theme.

So let’s look at a fight scene in the middle of the movie.

__________________

Katniss scans the Cornucopia - all those weapons. Knives, spears, maces, clubs. And a BOW AND ARROWS... 40 seconds, 39, 38...There's nothing but a plain of hardpacked dirt between her and that bow, except the fact that the 23 other Tributes might be running for it too.

She swallows hard, her breaths shallow. Watching the others: Cato, Clove, Marvel, Glimmer, Thresh, Bravura - they all look so steely. Aren't they terrified too? They don't seem it. But Rue does. The little thing is trembling. Fox-Face too ...

20 seconds, 19, 18... The whole world is that bow. Katniss has to have it. Then she sees Peeta, looking right at her... shaking his head as if to talk her out of running for it. Concentration broken, that fast. Katniss loses her edge.

Nine seconds, 8, eyes darting, 6, 5, hands clenched, 3, 2 ... until Bravura can't wait any longer. He steps off his platform just as the clock hits one, and: ... he EXPLODES, just like that. A LANDMINE - sending pieces of him spraying in all directions. The countdown stops. No one breathes. Or blinks. We hear a CANNON BLAST. Then the clock resumes - ONE, ZERO - before Katniss can regroup. And a LOUD GONG goes off…

... and it has begun. The Tributes burst from their platforms, racing for the Cornucopia.

It's a dizzying, chaotic blur - CHILDREN, running for weapons. We hear our first SCREAM. Katniss turns. A GROAN nearby - someone dying. CANNON BLAST #2.

There's a loaf of bread ten feet away, beside a folded up sheet of plastic and an orange BACKPACK. Katniss lunges forward, grabs the bread, the plastic, and…

Wait, there are suddenly FOUR HANDS on the backpack: hers and those of the BOY FROM 9. They grapple for it. Both confused, disoriented, desperate. His eyes narrow, determined. Then a lost look crosses them. And red spray plumes from his mouth. He staggers forward, releasing his grip on the pack. ... revealing a knife in his back - thrown from 20 yards away - by Clove, who has two more knives in hand. Katniss freezes. Then she wheels, sprinting away while throwing the backpack over her shoulders. We hear a deadly WHIZZING sound... This knife implants itself in the backpack. Katniss keeps running, doesn't look back, leaving behind the horror of the Cornucopia. Adolescents killing each other.

And each time a body falls, another CANNON BLAST can be heard. Three, four, five... Katniss keeps running.

Okay, so let’s talk about how this fight scene works within the story’s tone, and the screenplays flow. This script is all about a unique world it’s building, and the inhumanity of that world.

This scene ramps up the excitement. We can feel the countdown. The beginning of this scene sells us on how and why the Hunger Games have survived all these years.

But then we are reminded of the death that comes with it. Of the children who are going to die during it.

This is an excellent reminder of the moral complexity at the heart of the film.

The style here is also important. Short bursts of action, followed up by consequences. A mood is set and followed up on.

We don’t spend time beating this information into the people. Just deliver it and move on.

If you want to know how to write good fight scenes, you need to focus on your story.

3 - The Best Fight Scenes Don't Beat a Dead Horse

You’re writing the blueprint for a movie. We can debate whether or not the screenplay is a literary artifact all we want but at the end of the day, this needs to hit the screen.

That means, don't waste time reiterating what’s happening. Just show it to us and move on. Write like you're editing the movie in your brain.

This platitude works in even the most complicated of fights scenes. Like Helm’s Deep, from The Lord of The Rings: The Two Towers .

WIDE ON: THE URUK-HAI continue advancing on HELM’S DEEP. VOLLEY after VOLLEY of arrows are launched into the fray felling the frontline over and over, but the advance cannot be halted...

ANGLE ON: URUK-HAI launch arrows from crossbows into the

ALLIANCE...ELVES and MEN fall to their doom among the approaching throng...the URUK-HAI produce ladders and mount them against the WALL.

ANGLE ON: ARAGORN looks down to this new peril.

ARAGORN (in ELVISH; subtitled) Pendraid! Ladders!

ANGLE ON: GIMLI jumps with glee.

GIMLI Good!

ANGLE ON: Ladders with URUK-HAI riders are raised against the WALL.

ARAGORN Swords! Swords!

ANGLE ON: The ELVES draw their swords and prepare for close combat.

ANGLE ON: The first URUK-HAI comes over the wall and GIMLI is the first to make contact.

QUICK SERIES OF CUTS: The URUK-HAI begin pouring over the wall...the MEN and ELVES battle against them.

First off, this is a truly bad-ass scene. One of the best action scenes of recent memory, and a great piece to study if you want to learn how to write combat scenes in general.

Peter Jackson is a master director, but when we look at the blueprint of the screenplay, it’s pretty sparse.

We’re not going overboard on the amount of Uruk-hai charging. Or the death and arrows. This is a great way to put a massive battle out onto the page. We have a clear idea of who is commanding what, and how the shots will line up in the edit.

This awesome fight scene helps push the drama to the next level.

The action is balanced. It reads quickly, and we can imagine each snippet as they pass through our brain.

And imagination is important. Especially as emotions take over. If you're trying to write action scenes you can get lost in all the details you imagine, but a better method is to give a few key details and let the other ones be imagined by the reader.

4 - Learn How to Write Good Fight Scenes By Putting the Emotions on the Page

We talk a lot about how to strategize your fight scenes when it comes to action writing, but you also want to clue the audience in on how they should feel when it’s happening.

Much like when The Hunger Games emphasizes the death of kids, you want to audience to either revel in the battle or deal with the complicated emotions that go along with violence.

For my money, John Logan is one of the greatest writers of all time.

And his script for Gladiator demonstrates how to write a fight scene.

INT. COLOSSEUM - ARENA - DAY Tiger waits. He stands in the center of the arena. He has only a traditional short sword. The crowd is breathless with anticipation. As: CASSIUS (orating) And from the rocky promontories and martial bloodlines of Spain... representing the training lyceum of Proximo Antoninus... I give you... THE WARRIOR MAXIMUS! The crowd cheers. Maximus appears from his gate. His fans have increased in number considerably. They eagerly crane forward and celebrate him. Meanwhile, Maximus looks at Tiger. Only one man with a sword? Maximus approaches, cautious but confident. He stops a few feet from Tiger. They lock eyes, salute each other and then turn to the Imperial Box, raising their swords. The crowd waits eagerly for the immortal words... MAXIMUS AND TIGER We who are about to die salute you. The crowd cheers and Maximus immediately turns and starts slashing -- Tiger easily blocks and strikes back -- The swordplay is very fast -- they block and parry and hack like lightning -- constantly attacking -- they are perfectly matched -- As he fights Maximus becomes aware of a strange sound over the roar of the crowd -- a low rumbling -- then he feels something -- a vibration in the ground -- Suddenly traps doors swing open and four enormous platforms rise into view. On each platform is a snarling Bengal tiger restrained by a chain. Tiger's teams of "cornermen" hold the chains through a pulley system. The cornermen are safely inside cages. The platforms stop at ground level. The four ferocious tigers now mark the four corners of the battleground. Tiger takes advantage of Maximus' momentary confusion and assaults brutally -- forcing him back toward one of the tigers -- the tiger claws for Maximus -- Maximus just evades it claws -- rolls for a new position -- another tiger snaps at him -- Tiger attacks -- Maximus is on the defensive -- fighting off Tiger and evading the four snarling beasts -- And then all four tigers are suddenly closer. The teams of cornermen are letting the chains play out, bit by bit, gradually reducing the size of the battleground. The crowd roars. But the fight is hardly fair. Whenever Tiger is near one of the tigers the cornermen pull back the tiger slightly -- when Maximus is near a tiger they let it out a bit. Maximus and Tiger fight -- swirling action -- finally, Maximus has the edge -- he circles so that the sun stabs into Tiger's eyes -- then Maximus lunges forward under Tiger's swinging sword and SLAMS into him -- they fall -- a tiger swats at Maximus' face -- he jerks his head back -- he shoots out a leg and kicks Tiger's sword toward one of the tigers -- it is out of reach -- Maximus leaps up and stands over the winded Tiger, sword to his throat. Tiger is gasping for breath, crushed. Then one of Tiger's corners suddenly cheats -- they completely release a tiger -- it leaps for Maximus -- Maximus barely has time to turn -- the tiger crashes into him -- its claws slashing into his back, cutting through his leather armor -- Maximus shoves an armored forearm into the tiger's jaws and stabs with his sword -- Tiger takes this chance to pull himself up -- one of his corners throws him another sword -- the crowd boos -- Maximus wrestles with the tiger -- spinning it around with superhuman effort so it is always between himself and Tiger -- so that Tiger can't get at him -- Maximus finally kills the tiger and leaps for Tiger -- he quickly disarms him and tosses him to the ground -- Maximus stands over him -- ready to administer the coup de grace. All eyes turn to the Emperor. Commodus slowly stands and steps to the edge of the Imperial Box. He raises his arm and gives the fatal thumbs down. Maximus looks up at him. And then defiantly tosses the sword to the ground, refusing to kill Tiger. Commodus is stunned. The crowd gasps -- a collective intake of breath -- and then an enormous roar building. It cascades around the Colosseum. It is a roaring celebration of the unexpected act of mercy. And the delicious act of defiance of the Emperor. Commodus slowly sits. Maximus walks across the arena -- the people stand and cheer for him. Cries of "Maximus the Merciful" can be heard. It is the birth of a hero.

I mean W-O-W.

Logan is a master, so I want to take this moment to apologize for not being him for you readers, but I’m gonna spend my life trying.

Think about how you felt the first time you ever saw that scene. If you haven't seen that scene yet, then just go watch it now and thank me later.

How can we tell what emotions are present in this scene?

Well, in the beginning, we can sense the foreboding, but as the fight begins, Logan takes special care to annunciate the facts to use. We know the fight isn't fair, and we know the crowd matters. As he takes us through this, he’s building up for the mic drop.

“It is the birth of a hero.”

Okay, now we not only know what happens in this scene, but we also know WHY the scene matters outside of the fight.

Little touches like this accentuate your writing style and take your writing to the next level.

Sometimes it’s not just about the fight, but what happens after. It's about what the fight means. Stakes.

Writing fight scenes is not unlike writing every other scene; the stakes and the drama make all the difference.

5 - Spending Time on the Aftermath is Key to the Best Fight Scene

Where does this fight take you?

Is a hero born?

A new confidence found?

Does someone die, or maybe some part of them dies?

After every battle, give us a second to breathe. And To set up why this fight meant something. Win or lose, we need to know the repercussions that follow.

EXT. BRIDGE STREET ­ DAY HULK throws IRON MAN off him. Thor and Cap run over to him. Thor RIPS off Tony's helmet. He appears to be dead. They stand around not sure. Then... THE HULK YELLS IN FURY. THE NOISE STARTLES TONY AWAKE. TONY What the hell? What just happened? Please tell me nobody kissed me? CAPTAIN AMERICA (A BEAT) We won. TONY Alright. Hey. Alright. Good job, guys. Let's just not come in tomorrow. Let's just take a day. Have you ever tried shawarma? There's a shawarma joint about two blocks from here. I don't know what it is, but I wanna try it. THOR (looking up at Stark Tower) We're not finished yet. A beat. TONY And then shawarma after. INT. STARK PENTHOUSE ­ DAY Loki crawls onto the stair, looking like a piece of shit rag doll. He takes a few breathers, senses someone is behind him. He turns TO FIND THE AVENGERS STARING AT HIM, PISSED. LOKI If it's all the same to you. I'll have that drink. THE HULK SNORTS AT HIM.

Aside from humor, the aftermath of this scene ties up the whole movie. The Avengers was about this team coming together as one.

By spending time in the aftermath of this insane battle, we get to solidify the theme, get some levity out, and nail that this team will be together for a long time.

At least, until there’s a Civil War.

Make sure that when your characters take a break, we feel what they feel after its over.

Whether they are protagonists or antagonists , their feelings matter.

Look at the polar opposite of this Avengers battle. The neck-break in Man of Steel .

In these moments of the aftermath, we see a guy who compromised everything he believed in to save a city. It ruins him. And contributes to the downer of an ending.

Your fight scenes matter. Figure out how they’ll affect the characters moving forward. And the audience too.

After all, you want your screenplay to be successful. You can always rewrite !

Summing Up How to Write the Best Fight Scenes

Now that you understand the five tips on how to write good fight scenes, I can’t wait to see them in your own writing.

Join us for the Free Screenwriting Seminar, or just add these scenes to that pilot you've been working on for staffing season.

Remember, make it matter to the characters and always appeal to the emotions at hand.

Now go back to your corner, take out your mouth guard, and get writing!

The 'Longlegs' Ending Explained

The ending of 'shutter island' explained, is james gandolfini as tony soprano the greatest acting achievement of all time, what are the best mystery movies of all time, turn your smartphone into an ai-powered micro-four-thirds camera, 5 tips to film golden hour, the sarcastic meaning and how it fits into filmmaking, what's a shooting script and how do you create one, what is a "kitchen sink drama", what can filmmakers learn from the way andrew wyeth paints.

Unsupported browser

This site was designed for modern browsers and tested with Internet Explorer version 10 and later.

It may not look or work correctly on your browser.

• Types of Video

What are experimental films?

Experimental films are also known as avant-garde, which literally means the ‘vanguard’ or ‘advanced guard’—so people ahead of their time! Unlike mainstream cinema, which usually sticks to established structures and techniques, experimental films prioritise expression and innovation. They can vary a lot in style and approach, but they tend to have a few things in common:

• Non-traditional narrative : Experimental films often spurn linear storytelling in favour of more fragmented or abstract narratives.
• Innovative techniques : Filmmakers use unconventional methods in cinematography, editing, and sound design.
• Focus on form and content : The emphasis is often on a visual and auditory experience rather than on plot or character development.
• Personal expression : Many experimental films reflect the unique vision and style of the filmmaker.

Experimental vs. mainstream cinema

One of the biggest differences between experimental and mainstream cinema is the narrative structure. Mainstream films often follow a three-act structure with a beginning, middle, and end. Experimental films usually use non-linear or fragmented narratives, focusing more on mood and atmosphere than on plot.

In production, mainstream movies are normally going for a polished and commercially viable finished product. They might use expensive special effects, well-known actors, and so on. Experimental films are more likely to use things like found footage, hand-painted frames, and weird camera angles.

Audience expectations are generally different for experimental films when compared to mainstream cinema. Avant-garde films are for niche audiences who are used to the unconventional storytelling methods, and they often have a limited release at film festivals, galleries, or independent cinemas. They’re more about artistic expression than being a commercial hit. Mainstream films, though, are designed to attract big audiences and make money at the box office. This means they have to appeal to a wide range of viewers, so they often stick with clear storytelling, relatable characters, and satisfying endings.

A quick history of experimental cinema

The beginning.

In the 1920s, cinema was starting to get into its stride. The resistance it had seen from the upper classes (as a low-brow form of entertainment) was fizzling out, so artists and filmmakers began to explore film as a means of artistic expression.

European avant-garde movements like Dadaism and Surrealism had a big influence on this, and films like Un Chien Andalou (1929) by Luis Buñuel and Salvador Dalí (yes the artist!) broke new ground with dreamlike sequences and shocking imagery. Un Chien Andalou is a short film with disjointed imagery, and it opens with a scene where an eye is cut open with a razor. These shocking visuals were meant to evoke emotions and thoughts, rather than get across any kind of narrative.

What are Dadaism and surrealism?

Dadaism embraces chaos and absurdity, with a focus on the unconscious mind and dream logic. It came out of reactions to the First World War and had an anti-bourgeois sentiment. Quite often filmmakers would use collages with found objects and strange materials to make their work.

Surrealism was influenced by Sigmund Freud’s theories and uses techniques like automatism and juxtaposition to create outlandish and illogical scenes that are supposed to unlock deeper parts of our imagination and experience.

Mid-20th century

Experimental cinema had a bit of a boom in the mid-20th century, particularly in the United States and Europe. Maya Deren ’s Meshes of the Afternoon (1943) uses surreal, symbolic imagery and advanced editing techniques to explore themes of identity and perception. Kenneth Anger 's Scorpio Rising (1963) combined pop culture and occult symbolism, using a soundtrack that integrated rock and roll music with provocative visuals—pretty ground-breaking for the time! Anger is quite often credited with laying the groundwork for modern music videos .

S tan Brakhage ’s work, particularly Dog Star Man (1964), pushed the limits of visual abstraction, using techniques like painting directly onto film and using extreme close-ups of natural objects. His films didn’t have traditional narratives, focusing instead on the sensory and emotional impact of the sound and visuals.

F ilm co-operatives and independent cinemas sprung up, which provided platforms for these experimental works to be shown and discussed, helping the genre to grow.

Late 20th century

Digital technology opened up new possibilities for experimental filmmakers in terms of lower production costs, so there was flexibility to experiment, and new voices of the genre started to pop up from around the world.

Directors such as David Lynch , with films like Eraserhead (1977), kept pushing the boundaries of narrative and visual style. He was in his early 30s when the film was released to mixed reviews describing it as "a dream of dark and troubling things".

Contemporary experimental films

In terms of up-to-date experimental films, you might wonder how they can make them stand out or be shocking, when so much has already been done! Well, the likes of Apichatpong Weerasethakul and Lars von Trier are continuing to push those boundaries. Von Trier favours trilogies, either by style or by theme, and is such a fan of avant-garde that he even founded Dogme 95 (along with Thomas Vinterberg) in 1995, his own filmmaking movement that set out ‘purifying’ principles like:

Films must be shot on location, without bringing in props or sets.

Diegetic sound only; music must be part of the scene.

Handheld cameras should be used for all filming.

Colour film must be used without special lighting.

The film must take place in the here and now; no historical or futuristic settings.

Genre movies are not allowed.

The film must be in the Academy 35mm format.

The director must not be credited.

With the evolution of technology, filmmaking has been democratised (to an extent), and this has meant more experimental films from diverse cultural backgrounds. Online platforms and film festivals that centre around avant-garde cinema have also been crucial in bringing experimental works to wider audiences.

Standout experimental films

1. un chien andalou (1929), directed by luis buñuel.

We’ve mentioned this French silent film already, but it’s renowned for its shocking and surreal imagery, including the scene of a razor slicing through an eyeball. These images were inspired by the dreams of the two writers Buñuel and Dali , who we can only assume had been eating a lot of cheese before bedtime. The audience response to the film was surprisingly positive, which upset Dali a bit as he’d wanted to shock and upset them! Un Chien Andalou has since influenced countless filmmakers and artists with its bold and interesting...(!) approach.

2. Meshes of the Afternoon (1943), directed by Maya Deren and Alexandr Hackenschmied

Deren's short silent film was co-directed by her husband and has since been recognised for its historic and cultural significance by the Library of Congress . This is another film heavily influenced by surrealism and explores a woman’s psyche through symbolic imagery like a silhouette of a woman with a flower on a drive and a phone off the hook. The sequences repeat and the narrative becomes circular, making it hard to understand what is reality and what is a dream.

3. Dog Star Man (1961-1964), directed by Stan Brakhage

Dog Star Man is actually a series of four short films (plus a prelude, so five films in total) that were originally released in instalments but later were regularly shown as one long film, as intended. It’s a sort of abstract visual poem that uses hand-painted frames.

"Brakhage creates a myth of his own personal history from his birth, past relationship to his mother and father, and present relationship to his wife and son. His myth is seen in a cosmic context, earth sun and moon playing a part." — LUX

4. Scorpio Rising (1963), directed by Kenneth Anger

Scorpio Rising combines documentary footage with stylised sequences, exploring themes of rebellion, sexuality, and the occult. It was shot over three months in New York and split into four sections featuring imagery like Christian iconography and even Nazi imagery. Its use of music in particular made it a hit, and it’s since been considered to be the foundation for today’s music videos, particularly during the MTV era.

5. Eraserhead (1977), directed by David Lynch

Written by, directed by, and starring David Lynch, Eraserhead is a nightmarish journey into the subconscious, told in a non-linear way. It’s a low-budget, black-and-white film that didn’t really get much fanfare on release but later would become a cult classic.

6. Tropical Malady (2004), directed by Apichatpong Weerasethakul

Tropical Malady is a romantic psychological drama that blends realism with folklore, and explores love and identity in a non-linear narrative. It’s been described as a diptych as it’s essentially a work of two parts. The first half follows the relationship between a soldier (Keng) and a country boy, and the second shows Keng trying to track down a shaman who can turn into a wild beast.

7. La Jetée (1962), directed by Chris Marker

La Jetée is a short French science fiction film in black and white, set in the aftermath of a Third World War. It tells the story of a man who is sent back in time to find a solution for humanity’s survival after the Second World War. The film is made up almost entirely of still photographs, which emphasises the film’s core themes of memory and time.

8. Wavelength (1967), directed by Michael Snow

Wavelength consists of a continuous 45-minute slow zoom across a New York City apartment until it gets to a photograph of the sea stuck to a wall. It’s very minimalistic and has an emphasis on form, all of which make the duration a bit of a challenge to engage with but fit the film’s themes of the passage of time quite well! Events do happen during the slow zoom, just so you know.

9. Blue (1993) by Derek Jarman

Blue is a British avant-garde film that consists of a single static shot of a blue screen with a voice-over, sound effects, and music. In the VO, Jarman talks about his experiences with AIDS, his failing eyesight, and the impact of the disease on his life and work. The blue screen is a metaphor for the emotional and physical pain he’s going through at the time. Blue was the last feature film he released before his death, just four months later.

10. The Holy Mountain (1973) by Alejandro Jodorowsky

Another surreal film, The Holy Mountain involves Alejandro Jodorowsky exploring spirituality, mysticism, and transformation. A Christ-like figure joins a group of characters representing plants in the solar system, and they set off on a quest to reach the Holy Mountain for enlightenment.

Conclusion: Experimental or avant-garde cinema

It’s not always easy to enjoy or understand experimental films, and having added context about the influences or reasons behind the filmmakers’ choices can be really helpful for that. There’s no doubt, though, that over the last 100 and some years, experimental films have continually pushed the boundaries of what cinema can be, getting us to think beyond regular storytelling.

More free film theory articles

About this page

This page was written by  Marie Gardiner . Marie is a writer, author, and photographer. It was edited by  Andrew Blackman . Andrew is a freelance writer and editor, and is a copy editor for Envato Tuts+.

How to Talk Experimental Film: A User’s Guide

As a medium, film is unique because it captures life in a way that cannot be captured through other forms of art, like painting or photography. Film is able to represent time, its duration, and motion, which brings it the closest to capturing life itself. Even the most conventional, mainstream film or video is able to accomplish this captivating feat. (If you beg to differ, notice what happens when there’s only one moving image in the room.) Experimental films not only capture or represent life, but also challenge the form and content of filmmaking and its conventional patterns, in order to provoke and, at its best, transcend how we compose our lives on and off-screen.

So what qualifies as experimental ?

A video opens with a unique score of digitally-manipulated industrial sounds mixed with a distorted version of a familiar pop tune, the 1997 teenage anthem, “Kiss Me” by Sixpence None the Richer. A jaundiced character with glowing cat eyes giggles in the pitch of a crazed raccoon. She drives happily through cyberspace, looking in wonder at the digital snowflakes floating across the screen. That’s the opening of Ryan Trecartin’s 2007 “ I-Be Area (Pasta and Wendy M-PEGgy)” . Or how about the genre-bending and taboo-ignoring film “ Palindromes” by Todd Solondz? The conceptual film centers on a 13-year-old protagonist named Aviva (notice, her name is a palindrome), who is played by eight different actors of varying races, ages, and genders. The film is a dark, fearless, and unblinking look at teenage sexuality through multiple voices and vantage points: a fragmented look at a modern-age identity crisis.

Within the broad genre of experimental film, there emerge at least two different types of players: filmmakers who experiment with form and narrative content, and artists who use film or video as a medium through which to express their vision. This distinction between filmmakers and artists is not to say that filmmakers can’t be considered artists, or that artists can’t be considered filmmakers. In fact, the lines are not always clearly defined. I myself struggle with how to identify myself: filmmaker or artist (or both)? And in reality, my primary mode of identification varies depending on the particular context.

However, it’s important to understand that experimental film isn’t a simple or singular catchall. There’s a spectrum of people who create experimental films for different reasons. The results are excitingly diverse and varied and for that, The Independent thought it would be helpful to check in with someone working in the medium, me, for an introductory grasp on terms and definitions:

EXPERIMENTAL FILM

For me, experimental film is essentially a broad stroke or umbrella term for moving images that explore the human condition, nature, or fantasy in ways that haven’t been traditionally explored before. “Experimental film” includes a wide range of works, from a video performance of a heavily made-up woman smearing her face on a pane of glass (Pipilotti Rist, “ Be Nice to Me “) to Wes Anderson’s “ Moonrise Kingdom “. These are films in which filmmakers and artists are experimenting with the form (think jump cuts, overlays, the use of text on screen, films that use both animation and live-action) or content. Let’s keep in mind that most filmmakers aren’t experimenting the way scientists are, with the use of the scientific method that we all learned back in our middle school days. But we do know that they’re playing with (some quite methodically and others more freely) and therefore expanding the genre. Their intent isn’t to continue in the way mainstream films have been made. Instead, they want to challenge it.

Of course, the scope of experimental film is quite broad. Some films dabble in experimentation, with one camera angle or a topic that’s taboo or unconventional. Other films really push the boundaries, so much sometimes that we can’t even really decide if it is a film or not.

AVANT-GARDE FILM

I’m probably not alone in thinking of art critics in a gallery with affected intonations when I think of the term “avant-garde.” The term itself, before it was applied to art, was a military term that literally means “forward guard.” It described the soldiers on horseback that led troops into battle. They were on the front line of troops to go out and face the enemy.

Forgive the metaphor, but avant-garde filmmakers are those original soldiers on horseback. They’re first. They’re fearless. And their films usually aren’t well received by the general public. Avant-garde films are wholly experimental, pioneering films: films that after you’ve seen, you turn to friends and ask with wide eyes, “What was THAT?” These are the types of experimental films that a lot of people have a hard time digesting. They can be confusing, strange, grotesque, and purposefully disjunctive. And that’s okay. Because avant-garde films aren’t crowd-pleasers. The filmmakers creating those works know that.

It is important to note that “avant-garde film” was a term first used to describe Dadaist and surrealist films of the 1920s. A film that’s still widely regarded as one of the most avant-garde films in history is Luis Buñuel and Salvador Dalí’s 1929 film, “ Un Chien Andalou “. The film opens with a man causally sharpening a straight razor on a piece of wood. Wagner’s powerful, imposing score drives the action forward. Cigarette smoke unfurls as he concentrates on his task, glancing at the moon. The man opens the eyelid of a calm woman and slices her eyeball in half with the straight razor. The moon is temporarily spliced in half by the horizontal movement of a stray cloud. The woman’s eye spits out a gelatinous substance.

In the 21st century, we hear all the time that in art, “nothing is new.” As an artist, I can’t (and won’t) wholeheartedly agree with that statement. However, I will acknowledge that as modern filmmakers or film viewers, we have a relatively long history. If I were writing this article in the 1920s, I could give you tons of examples of what’s called “avant-garde film,” and every film would be shockingly novel. It’s a little harder now: as a society, we have seen more films, we reference more films, we pay homage to more films, and we borrow from more films. So, it’s important to also consider that avant-garde is a term steeped in chronology. What was once avant-garde may now be the most popular film type.

Take for example the most commonly cited “influential film” for filmmakers: “ Citizen Kane ” by Orson Welles. When this film first came out, it was monumentally innovative for its time: the use of the newsreel, the death of the protagonist in the first scene, the unreliable narrator, the signifiers, the ambiguous sound, the deep focus…and the list goes on. The thing is, today’s unguided audiences probably wouldn’t be able to distinguish Citizen Kane as an innovative, avant-garde film, which it was for its time.

So I suppose that begs the question, what is avant-garde film today? Funny enough, it’s mostly likely seen in museums and galleries…yes, the beacons of affected intonations. But it’s true. Current avant-garde films are less likely to be exhibited in a movie theater because the form does not prioritize the viewing experience of the audience in the way that commercial films do. Museums and galleries (sometimes) allow for flexibility: artists and filmmakers can make space another dimension that the viewer must experience, which is why avant-garde often intersects with the realm of video installation.

UNDERGROUND FILM

“Underground film” is a term that was coined in the 1960s and is still used today, though certainly without the same connotation. You can see the term in the film festival circuit: the Boston Underground Film Festival, New York Underground Film Festival, Chicago Underground Film Festival…and so on.

While budget constraints are still a very real challenge for modern filmmakers, having a film be seen is not as problematic. The Internet and all the available viewing channels, even specific channels made for people who appreciate experimental film, eliminate the barriers filmmakers faced a few decades ago. The Internet, after all, in most nations anyway, is public. So in an era when we as a society can’t (or perhaps won’t) hide anymore or operate in true secrecy, underground film doesn’t carry the same bite.

Of course…unless we’re talking about banned films, like Todd Haynes’ “ Superstar: The Karen Carpenter Story “. The 43-minute film re-enacts the story of musician Karen Carpenter, who tragically died of anorexia, with a cast made up entirely of Barbie dolls. It was released in 1987 in film festivals, but was recalled when Haynes lost a lawsuit regarding the music licensure in the film. As a result of the lawsuit, the Carpenter estate has required that all copies of the film have been recalled or destroyed. So, if you happen to find a copy of the film and share it with someone else, that would certainly be an experience in the vein of underground film. (I dare you.)

While instances like Superstar are rare in the United States, the spirit of underground film is still alive because of the money issue. Funding is little and budgets are tight for filmmakers (and the arts in general), so many still carry on that attitude, or even write into grant proposals, “this film will be made no matter what.” Lots of filmmakers are putting together crews that work for free, working long and impossible production hours, and doing everything and anything to get a film made, even if it means bankruptcy or begging for money. Scrappy, pull yourself up by your bootstraps, DIY-style filmmaking is actually more popular than not. In fact, some might argue that the underground film attitude of the 1960s is perhaps the spirit of independent film today.

As a term and a medium, “video” tends to be more elastic and flexible than “film.” Videos can range from recorded performances (also known as video performance), to short movies (which can also be referred to as “short films”), to sculptural works that include moving images (also known as “video installation” or “new media installation”) to moving images that are digitally recorded as opposed to chemically processed. Video can challenge conventions of exhibition as well. For example, movies or “films” are conventionally made to be watched in theaters. (Whether or not they are being watched in theaters nowadays is another topic). Videos, on the other hand, can demand to be exhibited in alternative ways, such as in video or new media installations, where the display space is an important part of the experience.

“Video art” is a really flexible genre, and its ambiguity is a gift for experimental artists. It’s an art that uses the moving image as its medium. Instead of paint, video artists use the camera and the technology’s unique qualities. The canvas is the screen. The term is broad and can reference anything from a tightly edited short film with a beginning, middle, and end, to one that has none of those typical narrative guideposts (or even end credits for that matter) to a filmed performance in which an artist walks around a square in an exaggerated manner (a Bruce Nauman piece, aptly titled “ Walking in an Exaggerated Manner around the Perimeter of a Square “). And of course, video art catches all other video pieces that lie between the spectrum of a short film and video performance, such as music videos.

I personally love video art as a genre because it allows me to do things that films can’t do, like experiment with the idea of modularity and singularity. Last year, my creative partner Danny Roth and I produced an experimental video project, titled “ 7 d.a.y.s. “, in which we conceived, produced, and edited one video a day for seven days. The project grew out of a fascination with the ephemeral and the fleeting beauty of the creative idea. Each video was themed and named for the day on which we created it. Themes included memory, art&madness, city, trance, spinning, senses, and nature. The intention of the project wasn’t to create seven perfect, whole films, but to capture a week’s worth of creativity on video. The videos are meant to be impulsive, visceral, fleeting. In addition, we also wrote poetry and text for each of the videos because, for me, words and the act of writing are as integral to my life as visuality. One interesting thing to add here is how I term my work. The title is 7 d.a.y.s. , but what I use as the subtitle varies from time to time. Sometimes I call it “an experimental film project,” other times I call it “an experimental video series,” and others, I call it “a conceptual film project.” This just goes to show the elasticity of these genres and how they can overlap and intersect with each other.

VIDEO INSTALLATION

The term “installation” is another flexible term. It’s a word used to describe works that use space as an additional dimension in a work of art. Installation pieces are often sculptural in that they activate and consider space. “Video installation,” then, describes works that activate space with video. A prime example of a video installation is American artist Tony Oursler’s work, where video projection is a key element. Oursler innovatively moves the viewing space away from the big screen, or little screen, and onto unconventional surfaces. He might project video of faces engaged in monologue or dialogue with the audience onto stuffed bodies, or bedroom scenarios (the space under a bed), for example. I’d say that it’s the moving image in his works that shocks, awes, and inspires audiences. “ Little Worlds “, a collection of Oursler’s work is currently exhibiting at the Honolulu Museum of Art until June 23, 2013.

Despite the device on which a moving image was created and what term is used for it, what makes a film (or video) experimental is the unconventionality of its form or content. These kinds of films allow the audience to see and experience the world in a way that they’ve never seen or experienced before, through uniquely calibrated eyes. The process may shock us, amaze us, or disturb us. Most experimental filmmakers and artists I know are shooting for all three, plus a quality or two that defies articulation.

Minhae Shim contributes to The Independent from the vantage point of a filmmaker, interdisciplinary artist, and writer. She is an active blogger , and is particularly interested in exploring and extending the traditions of avant-garde cinema and conceptual art. She recently completed and exhibited a video installation, Video Sassoon . She’s currently helping to edit The Independent’s Guide to Film Distribution, Second Edition . She can be reached at [email protected].

Thanks for reading Hyperallergic!

Enter your email below to subscribe to our free newsletters.

Newsletters

• Daily The latest stories every weekday morning
• Weekly Editors' picks of the best stories each week
• Opportunities Monthly list of opportunities for artists, and art workers

View all newsletters | Privacy Policy

An account has already been registered with this email. Please check your inbox for an authentication link to sign in.

Hyperallergic

Sensitive to Art & its Discontents

Tired of Netflix? Stream Experimental Films and Video Art

This is not a paywall

You can keep reading for free! At Hyperallergic , we strive to make art more inclusive, so you’ll never hit a paywall when reading our articles. But, as an independent publication, we rely on readers like you to keep our high-quality coverage free and accessible. 

Please consider joining us as a member to support independent journalism.

Already a member? Sign in here.

From Mizu Shobai (Water Business) (1993), dir. Lana Lin (image courtesy the filmmaker)

About 10 days ago, multidisciplinary artist Kate Lain started a simple Google spreadsheet called “ Cabin Fever ” in the hopes of gathering links to experimental films she could send to her students once classes were moved online due to the ongoing COVID-19 pandemic. Lain divided her “playlist” into sections, such as “For when you need to laugh or smile,” “For when you wanna sing & dance,” and even “For when you just want to scream or break something.” As she explained to Hyperallergic, these categories are “based on moods one might be experiencing while being cooped up.”

In less than two weeks, Lain’s spreadsheet has grown to include hundreds of experimental films and artists’ moving image works from around the world, complete with content warnings where appropriate and a password option for artists who prefer some layer of security. 

From Dislocation Blues (2017), dir. Sky Hopinka (image courtesy the filmmaker)

Likewise, many artists and filmmakers have taken it upon themselves to remove passwords from their collections of work on Vimeo and elsewhere. From Beatriz Santiago Muñoz  to Sky Hopinka to Alexandra Cuesta, it’s been heartening to me as a moving image curator to see a range of experimental filmmakers make their work publicly available. And while worrying in the long term, the fact that even some festivals have moved entirely online has offered a little glimmer of light at the end of a tunnel of bad TV, e specially as many arthouse cinemas have closed for the immediate future .

In the spirit of “Cabin Fever” and cognizant of the fact that one can only watch so much Netflix in a given month, a few colleagues and I reached out to artists, filmmakers, and Hyperallergic contributors to assemble a list of what we’ve been sharing and encountering across our networks. Gathered here are both films recently made free and some older gems, just because.

While it’s thrilling to see such a robust selection of experimental films available with just an internet connection, it’s worth noting that there are many very good reasons some artists have elected not to put their work online. Like a lot of art, experimental films can be expensive to make, but unlike paintings and sculptures, time-based media is not much sought after by moneyed collectors. This means that screening opportunities or distribution deals offer some of the only ways these artists can be compensated for their labor. As a filmmaker whom I deeply respect recently reminded me, not every artist can afford to make their work freely available. The choice is personal. 

From That which identifies them like the eye of the Cyclops (2015), dir. Beatriz Santiago Muñoz (image courtesy the filmmaker)

All of this is to say that if you plan to do a deep dive into the links below or films found elsewhere, please consider donating directly to the artists. (This especially applies to artists with disabilities and chronic illnesses , who  have long been making work while managing varying levels of confinement, limited mobility, and a historic lack of institutional support , well before our current moment of “social distancing.”) If you work for an institution or otherwise have a platform, consider inviting some of these artists for a paid screening in the future so they can share their work and earn a living. Because at the end of the day, no one should have to work for free. 

Multi-Artist Collections

Cabin fever : coping with covid-19 playlist of online experimental films & videos.

(Initiated and maintained by Kate Lain)

Note: Due to an overwhelming response, Lain has made her playlist view-only. Folks interested in adding their work to the list should complete this google form . 

Selections from Cinema du Réel

After the 42nd edition of the notable French festival was cancelled, they partnered with Mediapart to make 13 films from this year’s program available online. See here for a few additional streaming options via their website.

Collectif Jeune Cinéma

“Collectif Jeune Cinéma — founded in 1971, promotes visual experimental practices including distribution of experimental cinema, regular monthly screenings and the yearly Different and Experimental Cinema Festival of Paris. CJC’s catalogue includes more than 1300 films from more than 350 filmmakers, and still counting …” — Collectif Jeune Cinéma

IDFA (International Documentary Film Festival Amsterdam) Collection

Viewers can now access almost 200 titles from the prestigious festival’s collection (more titles are available to those based in the Netherlands).

Indigenous Cinema Collection , National Film Board

The National Film Board of Canada’s database of cinema by Indigenous filmmakers, spanning 1968 to 2018.

Individual Artists’ Links

Karina skvirsky aguilera.

The Perilous Journey of Maria Rosa Palacios : “… a 30-minute performance based video about my Great-Grandmother’s journey from Chota to Guayaquil in 1906 to work as a domestic. The video brings attention to Palacios whose station in life made it impossible for her to be remembered in the history books. Maria Rosa Palacios was an Afro-Ecuadorian and descendant of slaves.” — KSA

Francis Almendárez

Dinner as I remember : An ode to Caribbean food. (See more of Almendárez’s films here .)

Catalina Jordan Alvarez

Sound Spring, Seq. #6: The School and The Home :  Part of a larger project, for which Alvarez conducted audio interviews with residents of Yellow Spring, Ohio, and later synced their recording with footage of the village. This excerpt traces the community’s “long and mixed history of civil rights struggles. Some residents trace their roots six generations to the Conway Colony — formerly enslaved people who were helped to settle here by the abolitionist son of their slaver. Antioch College is one of the most liberal liberal art schools in the country. Due to financial turmoil, its once 2,500 students today number 100 and empty buildings abound. Its illustrious alumni include Coretta Scott King, who eventually transferred, as she wasn’t able to carry out her internships where she wanted to because of the color of her skin.” — CJA

The Little Green Gym :  “From the age of nine I grew up in the Cumberland Plateau region of Tennessee, a place I once thought had nothing to offer me. But after living four years in New York City, and four years in Berlin, I came back to explore this area of the Appalachian mountains. Beersheba Springs was one of those places I’d been told was special on the plateau ….” — CJA

PACO : “Paco is a character my brother and I played in our childhood. He is based on men on the street, who would call me ‘linda.’ I cast my neighbors and partner — all non-professional actors — to interact with Paco. ” — CJA

Nuotama Bodomo

Afronauts : A luminous short which renders the story of the Zambian Space Program as a dreamlike work of speculative fiction. Afronauts contemplates the larger ramifications of launching the Black body into space against the backdrop of the independence movements taking place across the African continent in the 1960s.

Read more about Bodomo’s project, which she is expanding into a feature, here .

JooYoung Choi

Journey to the Cosmic Womb Part 1 & 2 : A fantastical short focused on race and adoption, based on the filmmaker’s own experiences.

Abigail Collins

“An interdisciplinary artist working with video, installation and photography, [Collins’s] work draws from from documentary and research based practices to reconsider relationships between media and systemic violence through a queer feminist lens.” — AC

You can find some of her films here .

Alexandra Cuesta

“Alexandra Cuesta is a filmmaker and visual artist who lives and works between the United States and Ecuador, her country of origin. Her films and videos combine experimental film traditions, documentary practices, and visual anthropology.” — AC

You can find her work on Vimeo .

Álvaro Franco

America Is Exhausted : “ a portrait in contrasts, between public hysteria fueled by a certain politician, and the lone black artist at home in his surroundings.” — ÁF

Alicia Grullón

Breaking :  In this video performance, [Grullón] adopted the role of fictional United Nations representative, Jaklin Caal Maquin, named after a 4-year-old Guatemalan girl who died of the flu at a US migrant detention center in December 2018.” — AG (Read Laura Raicovich’s take on it here .)

Surge : “Using a Hollywood trailer format and news montage in this video, viewers confront business-as-usual attitudes against communities demanding system change in the face of climate crisis.” — AG

Hyperallergic’s Laura Raicovich writes more about her work here .

From Hillerbrand+Magsamen’s  Higher Ground (image courtesy the filmmakers)

Hillerbrand + Magsamen

The collaborative artistic team of Hillerbrand-Magsamen draws upon the rich Fluxus practice of incorporating humor, performance, video and everyday objects by expanding their personal family life into a contemporary art conversation about family dynamics, suburban life and American consumer excess. This new kind of “suburban fluxus” generates work that documents and re-contextualizes their objects and possessions of self, family and culture, the role of the camera in contemporary art and challenging presumptions of the everyday. —  H + M

Stream their films 147 Devices for Integrated Principles , Whole , and Higher Ground .

Sky Hopinka

Hopinka’s work often explores the interconnectedness of myth, heritage, and  language. My personal favorites include Fainting Spells (2018)and  Jáaji Approx (2015), for their lyrical and at times humorous approaches to memory and translation.

Stream them, along with several of Hopinka’s other shorts here .

Allison Hunter

Open Your Eyes :  “… an experimental video based on memory and trauma. I explore a nonlinear narrative that reflects the outer self contrasted with inner thoughts. Scenes cut between still photographs and domestic interiors. The hypnotic ticking of a clock provides a soundbed that secures the audience within the filmic space yet also creates a sense of anxiety.” — AH

Ulysses Jenkins

“Ulysses Jenkins’s video and media work is remarkable for its fusion of forms to conjure vibrant expressions of how image, sound and cultural iconography inform representation. Beginning as a painter and muralist, Jenkins was introduced to video just as the first consumer cameras were made available to individuals, and he quickly seized upon the television technology as a means to broadcast alternative depictions of African and Native American cultures — his own heritage — citing the catalyst of Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song (1971) and its call to black filmmakers to control their subject-hood by controlling the media depicting them.” — Electronic Arts Intermix

Access his films on Vimeo .

Stanya Kahn

Don’t Go Back to Sleep : “… a haunted experimental narrative feature that operates primarily as a metaphor for the violence of the state and resulting citizen trauma … Shot in Kansas City, Missouri, in newly built homes left vacant and unfinished in the economic crash, Don’t Go Back to Sleep follows roving groups of frontline emergency workers adrift in nearly empty, end-times urban and suburban landscapes.” —  SK

Adam and Zack Khalil

INAATE/SE/ [it shines a certain way. to a certain place./it flies. falls./ : Based on the ancient Anishinaabe Seven Fires Prophecy, which both predates and predicts the arrival of Europeans. This film blends documentary, narrative, and experimental elements to explore the resonance of the prophecy through generations in the filmmakers’ Ojibway community in Michigan’s Upper Peninsula.

Hyperallergic’s Allison Meier writes more about INAATE/SE here .

Adam and Zack Khalil, and Jackson Polys

The Violence of a Civilization without Secrets reflects on the innate violence of museum archives and the relegation of human beings to artifacts via considerations of the case — and consequences — of the “discovery” of the “Kennewick Man,” a prehistoric Paleo-American man whose remains were found in Kennewick, Washington, in 1996.

“Kite, aka Suzanne Kite, is an Oglála Lakȟóta performance artist, visual artist, and composer … Kite’s scholarship and practice highlight contemporary Lakota epistemologies through research-creation, computational media, and performance. Her performances, compositions, sculptures and sound installations showcase the use of experimentation in new media and digital technologies that touch on issues such as nonhuman and human intelligence, the ethics of extractive technologies, and software design.” — Kite

Access her work on Vimeo .

“Penny Lane’s first feature length documentary, OUR NIXON, world premiered at Rotterdam, had its North American premiere at SXSW, won the Ken Burns Award for “Best of the Festival” at Ann Arbor, and was selected as the Closing Night Film at New Directors/New Films. Her second feature documentary, NUTS!, world premiered at Sundance 2016 where it won a Special Jury Prize. And yes, Penny Lane is her real name.” — PL

Access her work on Vimeo here .

Lin + Lam (Lana Lin and H. Lan Thao Lam)

“Inspired by a particular site, historical incident, or political issue, Lin + Lam (Lana Lin and H. Lan Thao Lam) collect research in the form of interviews, archival materials, and found objects. Their collaboration brings together their backgrounds in architecture, photography, sculpture, installation and time-based media. Their work has been exhibited at international venues including the Museum of Modern Art, New Museum, The Kitchen, and the Queens Museum, New York, Yerba Buena Center for the Arts, San Francisco, Arko Arts Center (Korean Arts Council,) Seoul, the Oberhausen Short Film Festival, Germany, and the 3rd Guangzhou Triennial, China.” — Lin + Lam

Access their work on Vimeo here .

From Unidentified Vietnam No. 18 (2007), dirs. Lin + Lam (image courtesy the filmmakers)

“Jodie Mack is an experimental animator … Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning.” — JM

The Green Fog : “… a scene-by-scene recreation of [Alfred Hitchcock’s] Vertigo, made entirely of footage from other movies that take place in San Francisco. There’s an especially funny montage right at the climax of the movie that uses Chuck Norris clips.” — Carman Tse

Mitch McCabe

Playing the Part : One of my favorite films about coming out, McCabe’s film presents a self-portrait that is equal parts humorous, biting, and earnest.

September 5:10PM : “In SEPTEMBER 5:10PM, Ephemeral, oblique images and words that fail are transformed into an indelible memento mori.” — Film Comment

Highway 403, Mile 39 : “”Highway 403, mile 39″ draws on the autobiographical as it explores one mother’s struggle to piece together disparate memories of the lost moment before a tragic car accident.” — MM

From ZION (2018), dir. Mohau Modisakeng (image courtesy Jenkins Johnson Gallery)

Mohau Modisakeng

“ ZION activates movements, and sights/sites resonant to the long history of Black settlements in New York City, including Seneca Village, a 19th century Black community eradicated to make way for the development of Central Park. At large, Modisakeng’s practice excavates forgotten histories breathing life into stories that often parallel contemporary issues across the Global African Diaspora. He lifts the dust from the bones of history. He lifts the veil from our eyes. He makes us witnesses … [ ZION ] marks the absences and the conflicts that have caused the forced migration of millions casting them into a life of refuge.” — Niama Safia Sandy  

Caroline Monnet

Mobilize : “Guided expertly by those who live on the land and driven by the pulse of the natural world, Caroline Monnet’s Mobilize takes us on an exhilarating journey from the far north to the urban south. Over every landscape, in all conditions, everyday life flows with strength, skill and extreme competence.” — National Film Board

Creatura Dada : “Six powerful native women gather up to celebrate a new beginning and the end of the world as we know it.” — CM

IKWE : “An experimental film that weaves the intimate thoughts of one woman (Ikwé) with the teachings of her grandmother, the Moon, creating a surreal narrative experience that communicates the power of thought and personal reflection.” — CM

From La Cueva Negra (The Black Cave) (2013), dir. Beatriz Santiago Muñoz (image courtesy the filmmaker)

Beatriz Santiago Muñoz

A prolific film and video-maker, Muñoz’s work focuses on the contradictions of the post-colonial Caribbean. Her stunning films draw on elements of ethnography, experimental filmmaking practices, and theater to tease out local histories, myths, and materialities.

You can find much of her recent work here (password: elfuturo).

Hyperallergic’s Monica Uszerowicz writes more about her work here .

Felicity Palma

Medusa and The Abyss : Notions of belonging and the ethics of travel are questioned through female rite and ritual, pointing at the pervasive and contradictory presence of history and myth in present-day Sicily. — FP

notes from the kingdom of the sick : notes from the kingdom of the sick examines subjective time and temporal isolation from the confines of a waiting room and represents the filmmaker’s experience as a young woman living with breast cancer, unable to be a “productive” member of society. — FP

Emily Peacock

6×18.78Upoad : Sometimes we all need a little support to get through our to do lists. Peacock’s short infuses some humor into the humdrum.

Christina Phoebe

Amygdalia (password: amygdaliainspring): “A non-fictional poem on belonging, estrangement and home, narrated by five women who are perceived, seen or feeling as “foreigners” in Greece.” — CP

Gutk’odau ( Yellow ) : “This experimental documentary short combines audio captured from Kiowa Tribe language lessons with breathtaking shots of the Great Plains.” — Seattle International Film Festival

Jennifer Remenchik

Mourning Letters : “… a testimony to its narrator’s grief over the death of a former lover. As the name would suggest the story unfolds through the oration of four letters originally written as a therapeutic exercise by Remenchik. Through film stills, screenshots of MOCA TV clips, and images copped from an ex-boyfriend’s solo show in Chelsea, the piece uses a devastating personal loss as a metaphor for shared cultural and historical traumas.” — JM

Jeremy Rourke

Lyrics on the Paper : “we travel with the notions and the emotions……..” — JR

Bassem Saad

Saint Rise : “In August 2017, Lebanon looks with mixed feeling at a giant statue of Saint Charbel as it is transported and erected on the highest mountaintop in Faraya … This saint is now being heralded by conservative religious media as a healer of the Coronavirus, and people are flocking to take soil from the burial place. The film is about the interactions of the people with the giant statue during its transport, and also about the contracting company [Beirut International Marine Industry and Commerce S.A.R.L], which is known for outlandish engineering proposals.” — BS

Talena Sanders

Reasonable Watchfulness : “ A diary film; transitions while longing for other places and people, like a fox on the run.” — TS

Between my flesh and the world’s fingers : “Mary MacLane, the Wild Woman of Butte, Montana, published her diaries in 1902 and 1917. As an out queer and proto-feminist at the turn of the century, MacLane became notorious upon the publication of her 1902 diary, I Await the Devil’s Coming . She was whisked away from the industrial hellscape of her copper mining Montana hometown to a life in the public eye as an author, journalist, female film pioneer and always a provocateur — sending up social norms throughout her career, with a special focus on staid notions about women and sexuality. Between my flesh and the world’s fingers is an experimental essay and diary film primarily based on her published diaries and her film work …” — TS

Kelly Sears

“Kelly Sears uses experimental animation techniques to create hybrid works that draw on narrative and documentary elements. She transforms an extensive trove of source materials, such as first aid handbooks, chronicles of space exploration, presidential and military newsreels, 35 millimeter photography manuals, aerobic and yoga guides, archival films, high school yearbooks, and disaster survival guidebooks, into new instructional and advisory texts that may lead the viewer astray and disoriented. Through these animations, we see glean bits of history that are recognizable but unsteady.” — KS

Stream her work on Vimeo here .

Sienna Shields/HOWDOYOUSAYYAMINAFRICAN?

Good Stock on the Dimension Floor : “a 53-minute digital film in 35 parts, reimagines the traditional opera to pose a central question: ‘What happens to the black body when it is haunted by a ‘blackness’ outside of it?’ The spoken, chanted, sung, and screamed libretto explores the consequences of centuries of global racial strife that are thrust upon on those born of African descent.” — U Chicago Arts

Susan Silas

Full Circle : “… about the struggle for life and the indifference of nature and thus fairly relevant to what is happening at the moment.” — SS

Courtney Stephens

Ida Western Exile : “The film is ur-quarantine, about isolation, making customer support phone calls for community, and gathering rations to disappear.” — CS

Sara Suarez

Watermarks : “ In Richmond, Virginia, Confederate monuments obscure the buried traumas of the slave trade along the James River. The river’s line traces a history that remains invisible. Hand-developed 16mm film and unconventional sound design unearth a buried world, questioning how the past has been recorded or suppressed.” — SS

Britt Thomas

Woman Walking : “[this short] dissects the experience of a woman walking alone by isolating her from her surroundings and juxtaposing two perspectives of the same action. From behind, we witness her seemingly confident stride. From the front, we see her tense reactions to surrounding noises as she clutches her purse and phone. The woman is simultaneously objectified and humanized through contending camera positions.” — BT

Rikkí Wright

“Rikkí Wright is a photographer and filmmaker based in Los Angeles, CA. Her work explores notions of community and sisterhood, especially among women of color, and looks at the way a community can mold or expand our ideas of femininity and masculinity, strength and beauty.” — RW

Stream her film A Ritual of Sisterhood here.

Editor’s note: Fellow Hyperallergic editors Dan Schindel and Elisa Wouk Almino contributed research and reporting to this article. 

• Share Copied to clipboard

Dessane Lopez Cassell

Dessane Lopez Cassell is a New York based editor, writer, and film curator, as well as the former reviews editor at Hyperallergic. You can follow her work here. More by Dessane Lopez Cassell

6 replies on “Tired of Netflix? Stream Experimental Films and Video Art”

I’d like to add.. We’ve been running an experimental Cable Access show broadcast across the US since 2015 called HERE COMES EVERYBODY.. You can find all of the episodes here…

There’s about 59 hours of work submitted by artists living all over the world.

The Ann Arbor Film Festival is live streaming experimental films from more than 60 countries through March 29. See https://www.aafilmfest.org/ for details.

Another one for you: http://www.markoconnell.org

We offer a live-stream, experimental film and video art program over at twitch.tv/media_monsters Live episodes every Saturday night at 10pm EDT and vod available.

Most of these videos are so boreing(( I love video art and have watched a lot of brilliant works, but these ones are so dull even for me, they can hardly be an alternative for the Netflix audience.

Comments are closed.

Most Popular

• What’s Going On With Berlin’s Pergamonmuseum?
• Newport Art Museum Left Without a Single Curator After Layoffs
• Rembrandt Painting Found in Attic Sells for Over $1M

A Big-Tent Vision of Feminist Art That’s Still a Bit Too Small

• Robert Earl Paige’s Colorful Textile Worlds

The High-Drama Kabuki Portraits of an Enigmatic Artist

An exhibition at the Art Institute of Chicago features over 30 of Tōshūsai Sharaku’s rarely shown ukiyo-e prints exemplifying the classic Japanese theater genre.

Columbia University’s “Alma Mater” Sculpture Drenched in Red Paint

The action set the tone for another year of protests as the school refuses to meet student demands to divest from Israeli military interests.

Announcing the 2024 Rabkin Prize Winners

The Rabkin Prize celebrates the creative and intellectual contributions of today’s arts writers and comes with a $50,000 unrestricted award.

Cooper Union in NYC Announces Free Tuition for Seniors

But questions remain for community members who have long advocated for the reinstatement of free tuition for all students.

California Man Sentenced for Smuggling 2,000-Pound Ancient Mosaic

The massive artifact was looted from Syria in 2015 and illegally transported to the US in a shipping container.

The Crocker Art Museum Presents Raúl Gonzo: Color Madness

The first museum exhibition for the Sacramento-based photographer showcases his bold, campy, colorful photographs.

12 Art Shows to Check Out Around DC This Fall

This season in the nation’s capital offers poignant portraiture by Félix González-Torres, an archive of James Baldwin, Rosemary Feit Covey’s organic forms, documentary photography, and more.

Tanya Lukin Linklater Opens Up a Space of Contemplation

The Alutiiq/Sugpiaq multidisciplinary artist and choreographer communicates Indigenous movement systems and forms of knowledge through dance.

Gold from Dragon City: Masterpieces of Three Yan from Liaoning, 337–436

This show at China Institute Gallery in NYC provides a rare opportunity to view excavated treasures from 1,600 years ago, on view for the first time in the US.

Mothers of Invention tells the story of how the movements, media, and styles of the past 50 years were inspired by feminism — through mostly White artists. 

Look Into My Eyes Is an Intimate Portrait of Psychic Healing

Uninterested in proving anything definitively, this film instead asserts the complicated humanity of psychic healers, their clients, and the practice itself. 

We've recently sent you an authentication link. Please, check your inbox!

Sign in with a password below, or sign in using your email .

Get a code sent to your email to sign in, or sign in using a password .

Enter the code you received via email to sign in, or sign in using a password .

Subscribe to our newsletters:

• Podcast Updates on the latest episodes
• Store Updates & special offers from our store
• Film Film reviews and recommendations
• Books Book reviews and recommendations
• Los Angeles Weekly guide to exhibitions in LA
• New York Weekly guide to exhibitions in NYC

Sign in with your email

Lost your password?

Try a different email

Send another code

Sign in with a password

Privacy Policy

Ask the publishers to restore access to 500,000+ books.

Can You Chip In? (USD)

Internet Archive Audio

• This Just In
• Grateful Dead
• Old Time Radio
• 78 RPMs and Cylinder Recordings
• Audio Books & Poetry
• Computers, Technology and Science
• Music, Arts & Culture
• News & Public Affairs
• Spirituality & Religion
• Radio News Archive

• Flickr Commons
• Occupy Wall Street Flickr
• NASA Images
• Solar System Collection
• Ames Research Center

• All Software
• Old School Emulation
• MS-DOS Games
• Historical Software
• Classic PC Games
• Software Library
• Kodi Archive and Support File
• Vintage Software
• CD-ROM Software
• CD-ROM Software Library
• Software Sites
• Tucows Software Library
• Shareware CD-ROMs
• Software Capsules Compilation
• CD-ROM Images
• ZX Spectrum
• DOOM Level CD

• Smithsonian Libraries
• FEDLINK (US)
• Lincoln Collection
• American Libraries
• Canadian Libraries
• Universal Library
• Project Gutenberg
• Children's Library
• Biodiversity Heritage Library
• Books by Language
• Additional Collections

• Prelinger Archives
• Democracy Now!
• Occupy Wall Street
• TV NSA Clip Library
• Animation & Cartoons
• Arts & Music
• Computers & Technology
• Cultural & Academic Films
• Ephemeral Films
• Sports Videos
• Videogame Videos
• Youth Media

Search the history of over 866 billion web pages on the Internet.

Mobile Apps

• Wayback Machine (iOS)
• Wayback Machine (Android)

Browser Extensions

Archive-it subscription.

• Explore the Collections
• Build Collections

Save Page Now

Capture a web page as it appears now for use as a trusted citation in the future.

Please enter a valid web address

• Donate Donate icon An illustration of a heart shape

A history of experimental film and video : from the canonical avant-garde to contemporary British practice

Bookreader item preview, share or embed this item, flag this item for.

• Graphic Violence
• Explicit Sexual Content
• Hate Speech
• Misinformation/Disinformation
• Marketing/Phishing/Advertising
• Misleading/Inaccurate/Missing Metadata

plus-circle Add Review comment Reviews

8 Favorites

DOWNLOAD OPTIONS

No suitable files to display here.

IN COLLECTIONS

Uploaded by station31.cebu on June 28, 2020

SIMILAR ITEMS (based on metadata)

• Entertainment
• General Knowledge

Ten Things That You Never Knew Were Created Entirely by Mistake

10 Animals with Dominant Females

10 Glimpses into Gay Life in History

Unsung Heroes: 10 Important Professions That Deserve Better Pay

Ten Billion Dollar Blunders: When Companies Set Cash on Fire

10 Shocking Facts about the Short Life of Percy Bysshe Shelley

10 Common Names with Surprisingly Unsettling Inspirations

10 Big Screen Flops That Are Surprisingly Inspiring

Outbreak (1995): The Foreshadowing of 10 Modern Epidemics

10 Books That Popularized Paranormal Phenomena

Who's behind listverse.

Jamie Frater

Head Editor

Jamie founded Listverse due to an insatiable desire to share fascinating, obscure, and bizarre facts. He has been a guest speaker on numerous national radio and television stations and is a five time published author.

Top 10 Experimental Films to Watch Right Now

The experimental film genre goes back as far as film history takes us. One of the first experimental films was done by Thomas Edison’s assistant, William Dickson, on the kinetoscope called “Monkeyshines No. 1” around 1889 or 1890. In fact, you could say all early silent cinema was experimental as the filmmakers were literally figuring out how to use the camera and editing to tell a story or use it to express or explore dreamlike visual art.

Out of experimental film came many new offshoots of the genre. One of the more prominent ones was avant-garde, which usually has no conventional point to them and focuses on exploring innovative and creative issues such as time, fantasy, dreams, or perception. The German silent film classic, The Cabinet of Dr. Caligari is one of the more famous early examples of dreams or perception.

Today, the genre has given birth to other offshoots, such as cinematic poetry and the cinematic diary, akin to the works of the late great Jonas Mekas. Even the experimental documentary has been around longer than viewers realize; the city symphony films are an early example or, more recently, Guy Maddin’s “My Winnipeg.”

Pulling from experimental film history and more recent works, here are ten experimental films you should watch.

Related: 10 Sci-Fi Short Films That Will Give You The Creeps

10 “Un Chien Andileu” (1929)

This is many film students’ introduction to experimental film. The French title translates to “An Andalusian Dog” and has nothing to do with the film itself. Crafted by Luis Bunuel and Salvador Dali, this silent surrealist journey uses dream logic to construct a non-narrative that is very Freudian in its design and meant to be shocking.

The film’s concept is actually a mix of two dreams that both the creators had—Dali’s hand covered in ants and Bunuel cutting an eye with a blade. When watched, the film invokes unease in that you are trying to make sense of a dream and can’t. Our brains try to find something relatable in the film and sometimes can’t. When we do feel some sort of connection, it’s a completely different interpretation, which is what the filmmakers wanted. They wanted to leave you thinking and trying to make sense of it. They know you can’t exactly be just like a piece of surreal art; it’s always up for debate without any true solution.

This is what makes “Un Chien Andileu” a must see for anyone interested in experimental film. [1]

9 “The Life and Death of 9413: A Hollywood Extra” (1928)

This film is a silent-film hidden gem. The film was made for $97 in 1928, and in American avant-garde cinema is considered one of the early pillars in the genre.

It centers on an actor who makes his way to Hollywood hoping to hit the big time, only to be dehumanized by studios, landing the role of a simple extra. They even write 9413 on his head, making him just a number in their system.

What makes the film so unique is how they leaned into their budget with a lack of resources and visually gave Hollywood this surreal emptiness, something that people from the outside had not seen before depicted. The use of German expressionist lighting, superimposition, twisting shapes, and disorienting angles really makes the film memorable as it visually shows the actor’s descent into madness and death caused by the demeaning dark side of Hollywood. [2]

8 “Manhatta” (1921)

This film is considered to be the true first American avant-garde film by many. “Manhatta” was a collaboration between painter Charles Sheeler and photographer Paul Strand. The non-narrative documentary is a visual poem that is simply exploring two things. First, it provided an abstract view of the city through carefully set up visual compositions. The second one is actually how the camera is used. This is done by experimenting with photography, film, minimalistic camera movement, and incidental motion in each film frame by exploring their relationships with each other.

Being a silent-era film, it does use intertitles, but unlike most films, it uses a Walt Whitman poem instead of dialogue or scene explanations. [3]

7 “From Afar” (2020)

An absolutely beautiful short film that will only take two minutes of your time. This is part of the cinematic poetry genre I mentioned earlier. Its simplicity and use of editing make it an experience that lingers.

Much like “The Life and Death of 9413: A Hollywood Extra,” filmmaker and poet Andrei Purcarea uses what he has to his advantage to visually push the poem along. Many of the shots don’t have anything to do with what’s being said exactly when you watch, but at the same time, you get this feeling of understanding.

However, unlike “The Life and Death of 9413,” this film doesn’t have fast cuts or superimpositions. In fact, the editing and pacing are more akin to “Manhatta,” visually telling us a story to go along with the poem. Is this whole film really about a ship, or is it more about something in life that represents a ship we missed and can’t see anymore? What did the characters miss? Who did they miss? The use of the lone red chair and the mirror on this beach looking out at sea…very existential. Very experimental. Very moving. [4]

6 “Catharsis” (2018)

This short film beautifully uses the experimental style to invoke emotion as we journey into the subject’s mind. It is a surreal reminder that we may not know what someone is going through, even if they seem calm on the outside. This film by Naleeka Dennis follows Marsha as she struggles to cope with the loss of her beloved by attempting to live in a fantasy world. But she must eventually deal with her grief.

The ending shot especially hammers this home as the world seems very eerie around her now. It was the same before we dove into her mind, but knowing what she is dealing with really changes your perspective. [5]

5 “Until There Was Nothing” (2020)

This wonderful short was released last year and really takes on a fantastic premise—standing on Earth in its final moments as it enters a black hole. Created by Paul Trillo, the images at first seem beautiful but suddenly change as they stretch toward the sky. While it may seem like a bleak film at first, Trillo notes, “Someday this will pass and there will be nothing left… That’s not something to fear ‘because we come from nothing’ as Alan Watts puts it… and from nothing comes something new.”

The surreal visuals caused by intense gravitational forces with the use of philosopher Alan Watt’s talking about the meaning of nothingness really gives the film a much deeper feel. [6]

4 “Stellar” (1993)

Stan Brakhage is the perfect mix of artist and filmmaker. With 380 films to his credit, it’s hard to choose which one to even pick. Brakhage’s work is unique and can be best described as live paintings. Meaning that he would paint or scratch or do something on each frame and then project it. The results were really mind-blowing. “Stellar” stands out to me as it feels like something that could’ve been used in early sci-fi films like 2001: A Space Odyssey or TV shows like the original Star Trek .

The last few frames are particularly surprising as a strange picture appears amongst the starry images. Like all art, “Stellar” is whatever you perceive it to be. For me, its a journey through space and the birth of the universes, with the first creature in the universe coming into being at the end. See how you interpret it. [7]

3 “Night Mayor” (2009)

A fantastic gem of a film. Guy Maddin’s visuals harken back to early silent film while giving a touch of modernity by filming on newer formats that even include VHS. Yet it’s his use of lighting, old-school tricks, and editing that really helps give this film its surreal aspect. Like we are watching a dream.

“Night Mayor” is a visual journey into the mind of a Bosnian immigrant, Nihad Ademi, who thinks he has discovered a way to harness the power of the Aurora Borealis in order to broadcast imagery from coast to coast. [8]

An absolute must-see short film!

2 “Light Is Calling” (2004)

Bill Morrison is an amazing filmmaker. He is unique in that he helps bring forgotten or close to decaying films back to life as experimental cinema. I highly suggest his film Decasia (2002) and Dawson City: Frozen Time (2016).

“Light Is Calling” is a short he did in 2004 in which he takes decaying nitrate film from 1926 titled “The Bells” and gives it new life.

After having the film optically reprinted, it is edited into a new format to go along with a 7-minute composition by Michael Gordon. IMDb describes the film best as a “meditation on the fleeting nature of life and love, as seen through the roiling emulsion of film.” [9]

A magnificent decaying dream.

1 “Meshes of the Afternoon” (1943)

Maya Deren was a jack of all trades. She was a dancer, choreographer, film theorist, poet, photographer, avant-garde promoter, and experimental filmmaker.

Deren believed that film should be an experience. “Meshes of the Afternoon” is definitely that—and a very important experimental piece. The film is considered one of the most influential experimental films in the history of American cinema.

The film is essentially a dream. Using dreamlike logic to create a unique experience for the viewer, it follows a female character who falls asleep after returning home. Her vivid dreams draw us in as her darker inner desires play out before our eyes. It’s actually hard to distinguish reality from the dream, but that is the point. She involves you mentally. [10]

A very influential piece on many filmmakers, including the works of David Lynch.

More Great Lists

Have a language expert improve your writing

Run a free plagiarism check in 10 minutes, generate accurate citations for free.

• Knowledge Base

Methodology

• Guide to Experimental Design | Overview, Steps, & Examples

Guide to Experimental Design | Overview, 5 steps & Examples

Published on December 3, 2019 by Rebecca Bevans . Revised on June 21, 2023.

Experiments are used to study causal relationships . You manipulate one or more independent variables and measure their effect on one or more dependent variables.

Experimental design create a set of procedures to systematically test a hypothesis . A good experimental design requires a strong understanding of the system you are studying.

There are five key steps in designing an experiment:

• Consider your variables and how they are related
• Write a specific, testable hypothesis
• Design experimental treatments to manipulate your independent variable
• Assign subjects to groups, either between-subjects or within-subjects
• Plan how you will measure your dependent variable

For valid conclusions, you also need to select a representative sample and control any  extraneous variables that might influence your results. If random assignment of participants to control and treatment groups is impossible, unethical, or highly difficult, consider an observational study instead. This minimizes several types of research bias, particularly sampling bias , survivorship bias , and attrition bias as time passes.

Table of contents

Step 1: define your variables, step 2: write your hypothesis, step 3: design your experimental treatments, step 4: assign your subjects to treatment groups, step 5: measure your dependent variable, other interesting articles, frequently asked questions about experiments.

You should begin with a specific research question . We will work with two research question examples, one from health sciences and one from ecology:

To translate your research question into an experimental hypothesis, you need to define the main variables and make predictions about how they are related.

Start by simply listing the independent and dependent variables .

Then you need to think about possible extraneous and confounding variables and consider how you might control  them in your experiment.

Finally, you can put these variables together into a diagram. Use arrows to show the possible relationships between variables and include signs to show the expected direction of the relationships.

Here we predict that increasing temperature will increase soil respiration and decrease soil moisture, while decreasing soil moisture will lead to decreased soil respiration.

Here's why students love Scribbr's proofreading services

Discover proofreading & editing

Now that you have a strong conceptual understanding of the system you are studying, you should be able to write a specific, testable hypothesis that addresses your research question.

The next steps will describe how to design a controlled experiment . In a controlled experiment, you must be able to:

• Systematically and precisely manipulate the independent variable(s).
• Precisely measure the dependent variable(s).
• Control any potential confounding variables.

If your study system doesn’t match these criteria, there are other types of research you can use to answer your research question.

How you manipulate the independent variable can affect the experiment’s external validity – that is, the extent to which the results can be generalized and applied to the broader world.

First, you may need to decide how widely to vary your independent variable.

• just slightly above the natural range for your study region.
• over a wider range of temperatures to mimic future warming.
• over an extreme range that is beyond any possible natural variation.

Second, you may need to choose how finely to vary your independent variable. Sometimes this choice is made for you by your experimental system, but often you will need to decide, and this will affect how much you can infer from your results.

• a categorical variable : either as binary (yes/no) or as levels of a factor (no phone use, low phone use, high phone use).
• a continuous variable (minutes of phone use measured every night).

How you apply your experimental treatments to your test subjects is crucial for obtaining valid and reliable results.

First, you need to consider the study size : how many individuals will be included in the experiment? In general, the more subjects you include, the greater your experiment’s statistical power , which determines how much confidence you can have in your results.

Then you need to randomly assign your subjects to treatment groups . Each group receives a different level of the treatment (e.g. no phone use, low phone use, high phone use).

You should also include a control group , which receives no treatment. The control group tells us what would have happened to your test subjects without any experimental intervention.

When assigning your subjects to groups, there are two main choices you need to make:

• A completely randomized design vs a randomized block design .
• A between-subjects design vs a within-subjects design .

Randomization

An experiment can be completely randomized or randomized within blocks (aka strata):

• In a completely randomized design , every subject is assigned to a treatment group at random.
• In a randomized block design (aka stratified random design), subjects are first grouped according to a characteristic they share, and then randomly assigned to treatments within those groups.

Sometimes randomization isn’t practical or ethical , so researchers create partially-random or even non-random designs. An experimental design where treatments aren’t randomly assigned is called a quasi-experimental design .

Between-subjects vs. within-subjects

In a between-subjects design (also known as an independent measures design or classic ANOVA design), individuals receive only one of the possible levels of an experimental treatment.

In medical or social research, you might also use matched pairs within your between-subjects design to make sure that each treatment group contains the same variety of test subjects in the same proportions.

In a within-subjects design (also known as a repeated measures design), every individual receives each of the experimental treatments consecutively, and their responses to each treatment are measured.

Within-subjects or repeated measures can also refer to an experimental design where an effect emerges over time, and individual responses are measured over time in order to measure this effect as it emerges.

Counterbalancing (randomizing or reversing the order of treatments among subjects) is often used in within-subjects designs to ensure that the order of treatment application doesn’t influence the results of the experiment.

Finally, you need to decide how you’ll collect data on your dependent variable outcomes. You should aim for reliable and valid measurements that minimize research bias or error.

Some variables, like temperature, can be objectively measured with scientific instruments. Others may need to be operationalized to turn them into measurable observations.

• Ask participants to record what time they go to sleep and get up each day.
• Ask participants to wear a sleep tracker.

How precisely you measure your dependent variable also affects the kinds of statistical analysis you can use on your data.

Experiments are always context-dependent, and a good experimental design will take into account all of the unique considerations of your study system to produce information that is both valid and relevant to your research question.

If you want to know more about statistics , methodology , or research bias , make sure to check out some of our other articles with explanations and examples.

• Student’s  t -distribution
• Normal distribution
• Null and Alternative Hypotheses
• Chi square tests
• Confidence interval
• Cluster sampling
• Stratified sampling
• Data cleansing
• Reproducibility vs Replicability
• Peer review
• Likert scale

Research bias

• Implicit bias
• Framing effect
• Cognitive bias
• Placebo effect
• Hawthorne effect
• Hindsight bias
• Affect heuristic

Experimental design means planning a set of procedures to investigate a relationship between variables . To design a controlled experiment, you need:

• A testable hypothesis
• At least one independent variable that can be precisely manipulated
• At least one dependent variable that can be precisely measured

When designing the experiment, you decide:

• How you will manipulate the variable(s)
• How you will control for any potential confounding variables
• How many subjects or samples will be included in the study
• How subjects will be assigned to treatment levels

Experimental design is essential to the internal and external validity of your experiment.

The key difference between observational studies and experimental designs is that a well-done observational study does not influence the responses of participants, while experiments do have some sort of treatment condition applied to at least some participants by random assignment .

A confounding variable , also called a confounder or confounding factor, is a third variable in a study examining a potential cause-and-effect relationship.

A confounding variable is related to both the supposed cause and the supposed effect of the study. It can be difficult to separate the true effect of the independent variable from the effect of the confounding variable.

In your research design , it’s important to identify potential confounding variables and plan how you will reduce their impact.

In a between-subjects design , every participant experiences only one condition, and researchers assess group differences between participants in various conditions.

In a within-subjects design , each participant experiences all conditions, and researchers test the same participants repeatedly for differences between conditions.

The word “between” means that you’re comparing different conditions between groups, while the word “within” means you’re comparing different conditions within the same group.

An experimental group, also known as a treatment group, receives the treatment whose effect researchers wish to study, whereas a control group does not. They should be identical in all other ways.

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

Bevans, R. (2023, June 21). Guide to Experimental Design | Overview, 5 steps & Examples. Scribbr. Retrieved September 9, 2024, from https://www.scribbr.com/methodology/experimental-design/

Is this article helpful?

Rebecca Bevans

Other students also liked, random assignment in experiments | introduction & examples, quasi-experimental design | definition, types & examples, how to write a lab report, get unlimited documents corrected.

✔ Free APA citation check included ✔ Unlimited document corrections ✔ Specialized in correcting academic texts

• Privacy Policy

Home » Experimental Design – Types, Methods, Guide

Experimental Design – Types, Methods, Guide

Table of Contents

Experimental Design

Experimental design is a process of planning and conducting scientific experiments to investigate a hypothesis or research question. It involves carefully designing an experiment that can test the hypothesis, and controlling for other variables that may influence the results.

Experimental design typically includes identifying the variables that will be manipulated or measured, defining the sample or population to be studied, selecting an appropriate method of sampling, choosing a method for data collection and analysis, and determining the appropriate statistical tests to use.

Types of Experimental Design

Here are the different types of experimental design:

Completely Randomized Design

In this design, participants are randomly assigned to one of two or more groups, and each group is exposed to a different treatment or condition.

Randomized Block Design

This design involves dividing participants into blocks based on a specific characteristic, such as age or gender, and then randomly assigning participants within each block to one of two or more treatment groups.

Factorial Design

In a factorial design, participants are randomly assigned to one of several groups, each of which receives a different combination of two or more independent variables.

Repeated Measures Design

In this design, each participant is exposed to all of the different treatments or conditions, either in a random order or in a predetermined order.

Crossover Design

This design involves randomly assigning participants to one of two or more treatment groups, with each group receiving one treatment during the first phase of the study and then switching to a different treatment during the second phase.

Split-plot Design

In this design, the researcher manipulates one or more variables at different levels and uses a randomized block design to control for other variables.

Nested Design

This design involves grouping participants within larger units, such as schools or households, and then randomly assigning these units to different treatment groups.

Laboratory Experiment

Laboratory experiments are conducted under controlled conditions, which allows for greater precision and accuracy. However, because laboratory conditions are not always representative of real-world conditions, the results of these experiments may not be generalizable to the population at large.

Field Experiment

Field experiments are conducted in naturalistic settings and allow for more realistic observations. However, because field experiments are not as controlled as laboratory experiments, they may be subject to more sources of error.

Experimental Design Methods

Experimental design methods refer to the techniques and procedures used to design and conduct experiments in scientific research. Here are some common experimental design methods:

Randomization

This involves randomly assigning participants to different groups or treatments to ensure that any observed differences between groups are due to the treatment and not to other factors.

Control Group

The use of a control group is an important experimental design method that involves having a group of participants that do not receive the treatment or intervention being studied. The control group is used as a baseline to compare the effects of the treatment group.

Blinding involves keeping participants, researchers, or both unaware of which treatment group participants are in, in order to reduce the risk of bias in the results.

Counterbalancing

This involves systematically varying the order in which participants receive treatments or interventions in order to control for order effects.

Replication

Replication involves conducting the same experiment with different samples or under different conditions to increase the reliability and validity of the results.

This experimental design method involves manipulating multiple independent variables simultaneously to investigate their combined effects on the dependent variable.

This involves dividing participants into subgroups or blocks based on specific characteristics, such as age or gender, in order to reduce the risk of confounding variables.

Data Collection Method

Experimental design data collection methods are techniques and procedures used to collect data in experimental research. Here are some common experimental design data collection methods:

Direct Observation

This method involves observing and recording the behavior or phenomenon of interest in real time. It may involve the use of structured or unstructured observation, and may be conducted in a laboratory or naturalistic setting.

Self-report Measures

Self-report measures involve asking participants to report their thoughts, feelings, or behaviors using questionnaires, surveys, or interviews. These measures may be administered in person or online.

Behavioral Measures

Behavioral measures involve measuring participants’ behavior directly, such as through reaction time tasks or performance tests. These measures may be administered using specialized equipment or software.

Physiological Measures

Physiological measures involve measuring participants’ physiological responses, such as heart rate, blood pressure, or brain activity, using specialized equipment. These measures may be invasive or non-invasive, and may be administered in a laboratory or clinical setting.

Archival Data

Archival data involves using existing records or data, such as medical records, administrative records, or historical documents, as a source of information. These data may be collected from public or private sources.

Computerized Measures

Computerized measures involve using software or computer programs to collect data on participants’ behavior or responses. These measures may include reaction time tasks, cognitive tests, or other types of computer-based assessments.

Video Recording

Video recording involves recording participants’ behavior or interactions using cameras or other recording equipment. This method can be used to capture detailed information about participants’ behavior or to analyze social interactions.

Data Analysis Method

Experimental design data analysis methods refer to the statistical techniques and procedures used to analyze data collected in experimental research. Here are some common experimental design data analysis methods:

Descriptive Statistics

Descriptive statistics are used to summarize and describe the data collected in the study. This includes measures such as mean, median, mode, range, and standard deviation.

Inferential Statistics

Inferential statistics are used to make inferences or generalizations about a larger population based on the data collected in the study. This includes hypothesis testing and estimation.

Analysis of Variance (ANOVA)

ANOVA is a statistical technique used to compare means across two or more groups in order to determine whether there are significant differences between the groups. There are several types of ANOVA, including one-way ANOVA, two-way ANOVA, and repeated measures ANOVA.

Regression Analysis

Regression analysis is used to model the relationship between two or more variables in order to determine the strength and direction of the relationship. There are several types of regression analysis, including linear regression, logistic regression, and multiple regression.

Factor Analysis

Factor analysis is used to identify underlying factors or dimensions in a set of variables. This can be used to reduce the complexity of the data and identify patterns in the data.

Structural Equation Modeling (SEM)

SEM is a statistical technique used to model complex relationships between variables. It can be used to test complex theories and models of causality.

Cluster Analysis

Cluster analysis is used to group similar cases or observations together based on similarities or differences in their characteristics.

Time Series Analysis

Time series analysis is used to analyze data collected over time in order to identify trends, patterns, or changes in the data.

Multilevel Modeling

Multilevel modeling is used to analyze data that is nested within multiple levels, such as students nested within schools or employees nested within companies.

Applications of Experimental Design 

Experimental design is a versatile research methodology that can be applied in many fields. Here are some applications of experimental design:

• Medical Research: Experimental design is commonly used to test new treatments or medications for various medical conditions. This includes clinical trials to evaluate the safety and effectiveness of new drugs or medical devices.
• Agriculture : Experimental design is used to test new crop varieties, fertilizers, and other agricultural practices. This includes randomized field trials to evaluate the effects of different treatments on crop yield, quality, and pest resistance.
• Environmental science: Experimental design is used to study the effects of environmental factors, such as pollution or climate change, on ecosystems and wildlife. This includes controlled experiments to study the effects of pollutants on plant growth or animal behavior.
• Psychology : Experimental design is used to study human behavior and cognitive processes. This includes experiments to test the effects of different interventions, such as therapy or medication, on mental health outcomes.
• Engineering : Experimental design is used to test new materials, designs, and manufacturing processes in engineering applications. This includes laboratory experiments to test the strength and durability of new materials, or field experiments to test the performance of new technologies.
• Education : Experimental design is used to evaluate the effectiveness of teaching methods, educational interventions, and programs. This includes randomized controlled trials to compare different teaching methods or evaluate the impact of educational programs on student outcomes.
• Marketing : Experimental design is used to test the effectiveness of marketing campaigns, pricing strategies, and product designs. This includes experiments to test the impact of different marketing messages or pricing schemes on consumer behavior.

Examples of Experimental Design 

Here are some examples of experimental design in different fields:

• Example in Medical research : A study that investigates the effectiveness of a new drug treatment for a particular condition. Patients are randomly assigned to either a treatment group or a control group, with the treatment group receiving the new drug and the control group receiving a placebo. The outcomes, such as improvement in symptoms or side effects, are measured and compared between the two groups.
• Example in Education research: A study that examines the impact of a new teaching method on student learning outcomes. Students are randomly assigned to either a group that receives the new teaching method or a group that receives the traditional teaching method. Student achievement is measured before and after the intervention, and the results are compared between the two groups.
• Example in Environmental science: A study that tests the effectiveness of a new method for reducing pollution in a river. Two sections of the river are selected, with one section treated with the new method and the other section left untreated. The water quality is measured before and after the intervention, and the results are compared between the two sections.
• Example in Marketing research: A study that investigates the impact of a new advertising campaign on consumer behavior. Participants are randomly assigned to either a group that is exposed to the new campaign or a group that is not. Their behavior, such as purchasing or product awareness, is measured and compared between the two groups.
• Example in Social psychology: A study that examines the effect of a new social intervention on reducing prejudice towards a marginalized group. Participants are randomly assigned to either a group that receives the intervention or a control group that does not. Their attitudes and behavior towards the marginalized group are measured before and after the intervention, and the results are compared between the two groups.

When to use Experimental Research Design 

Experimental research design should be used when a researcher wants to establish a cause-and-effect relationship between variables. It is particularly useful when studying the impact of an intervention or treatment on a particular outcome.

Here are some situations where experimental research design may be appropriate:

• When studying the effects of a new drug or medical treatment: Experimental research design is commonly used in medical research to test the effectiveness and safety of new drugs or medical treatments. By randomly assigning patients to treatment and control groups, researchers can determine whether the treatment is effective in improving health outcomes.
• When evaluating the effectiveness of an educational intervention: An experimental research design can be used to evaluate the impact of a new teaching method or educational program on student learning outcomes. By randomly assigning students to treatment and control groups, researchers can determine whether the intervention is effective in improving academic performance.
• When testing the effectiveness of a marketing campaign: An experimental research design can be used to test the effectiveness of different marketing messages or strategies. By randomly assigning participants to treatment and control groups, researchers can determine whether the marketing campaign is effective in changing consumer behavior.
• When studying the effects of an environmental intervention: Experimental research design can be used to study the impact of environmental interventions, such as pollution reduction programs or conservation efforts. By randomly assigning locations or areas to treatment and control groups, researchers can determine whether the intervention is effective in improving environmental outcomes.
• When testing the effects of a new technology: An experimental research design can be used to test the effectiveness and safety of new technologies or engineering designs. By randomly assigning participants or locations to treatment and control groups, researchers can determine whether the new technology is effective in achieving its intended purpose.

How to Conduct Experimental Research

Here are the steps to conduct Experimental Research:

• Identify a Research Question : Start by identifying a research question that you want to answer through the experiment. The question should be clear, specific, and testable.
• Develop a Hypothesis: Based on your research question, develop a hypothesis that predicts the relationship between the independent and dependent variables. The hypothesis should be clear and testable.
• Design the Experiment : Determine the type of experimental design you will use, such as a between-subjects design or a within-subjects design. Also, decide on the experimental conditions, such as the number of independent variables, the levels of the independent variable, and the dependent variable to be measured.
• Select Participants: Select the participants who will take part in the experiment. They should be representative of the population you are interested in studying.
• Randomly Assign Participants to Groups: If you are using a between-subjects design, randomly assign participants to groups to control for individual differences.
• Conduct the Experiment : Conduct the experiment by manipulating the independent variable(s) and measuring the dependent variable(s) across the different conditions.
• Analyze the Data: Analyze the data using appropriate statistical methods to determine if there is a significant effect of the independent variable(s) on the dependent variable(s).
• Draw Conclusions: Based on the data analysis, draw conclusions about the relationship between the independent and dependent variables. If the results support the hypothesis, then it is accepted. If the results do not support the hypothesis, then it is rejected.
• Communicate the Results: Finally, communicate the results of the experiment through a research report or presentation. Include the purpose of the study, the methods used, the results obtained, and the conclusions drawn.

Purpose of Experimental Design 

The purpose of experimental design is to control and manipulate one or more independent variables to determine their effect on a dependent variable. Experimental design allows researchers to systematically investigate causal relationships between variables, and to establish cause-and-effect relationships between the independent and dependent variables. Through experimental design, researchers can test hypotheses and make inferences about the population from which the sample was drawn.

Experimental design provides a structured approach to designing and conducting experiments, ensuring that the results are reliable and valid. By carefully controlling for extraneous variables that may affect the outcome of the study, experimental design allows researchers to isolate the effect of the independent variable(s) on the dependent variable(s), and to minimize the influence of other factors that may confound the results.

Experimental design also allows researchers to generalize their findings to the larger population from which the sample was drawn. By randomly selecting participants and using statistical techniques to analyze the data, researchers can make inferences about the larger population with a high degree of confidence.

Overall, the purpose of experimental design is to provide a rigorous, systematic, and scientific method for testing hypotheses and establishing cause-and-effect relationships between variables. Experimental design is a powerful tool for advancing scientific knowledge and informing evidence-based practice in various fields, including psychology, biology, medicine, engineering, and social sciences.

Advantages of Experimental Design 

Experimental design offers several advantages in research. Here are some of the main advantages:

• Control over extraneous variables: Experimental design allows researchers to control for extraneous variables that may affect the outcome of the study. By manipulating the independent variable and holding all other variables constant, researchers can isolate the effect of the independent variable on the dependent variable.
• Establishing causality: Experimental design allows researchers to establish causality by manipulating the independent variable and observing its effect on the dependent variable. This allows researchers to determine whether changes in the independent variable cause changes in the dependent variable.
• Replication : Experimental design allows researchers to replicate their experiments to ensure that the findings are consistent and reliable. Replication is important for establishing the validity and generalizability of the findings.
• Random assignment: Experimental design often involves randomly assigning participants to conditions. This helps to ensure that individual differences between participants are evenly distributed across conditions, which increases the internal validity of the study.
• Precision : Experimental design allows researchers to measure variables with precision, which can increase the accuracy and reliability of the data.
• Generalizability : If the study is well-designed, experimental design can increase the generalizability of the findings. By controlling for extraneous variables and using random assignment, researchers can increase the likelihood that the findings will apply to other populations and contexts.

Limitations of Experimental Design

Experimental design has some limitations that researchers should be aware of. Here are some of the main limitations:

• Artificiality : Experimental design often involves creating artificial situations that may not reflect real-world situations. This can limit the external validity of the findings, or the extent to which the findings can be generalized to real-world settings.
• Ethical concerns: Some experimental designs may raise ethical concerns, particularly if they involve manipulating variables that could cause harm to participants or if they involve deception.
• Participant bias : Participants in experimental studies may modify their behavior in response to the experiment, which can lead to participant bias.
• Limited generalizability: The conditions of the experiment may not reflect the complexities of real-world situations. As a result, the findings may not be applicable to all populations and contexts.
• Cost and time : Experimental design can be expensive and time-consuming, particularly if the experiment requires specialized equipment or if the sample size is large.
• Researcher bias : Researchers may unintentionally bias the results of the experiment if they have expectations or preferences for certain outcomes.
• Lack of feasibility : Experimental design may not be feasible in some cases, particularly if the research question involves variables that cannot be manipulated or controlled.

About the author

Muhammad Hassan

Researcher, Academic Writer, Web developer

You may also like

Triangulation in Research – Types, Methods and...

Research Methods – Types, Examples and Guide

Phenomenology – Methods, Examples and Guide

Questionnaire – Definition, Types, and Examples

Applied Research – Types, Methods and Examples

Quasi-Experimental Research Design – Types...

What Is Experimental Music? With 7 Top Examples & History

If you've been thinking of expanding your musical horizons, you might want to try listening to experimental music.

This genre has elements of almost every other genre, making it one of the most diverse genres. As such, no matter what kind of music you gravitate toward, you can find experimental tracks that suit your tastes!

But what is experimental music, and what makes it unique?

Definition: What Is Experimental Music?

So, what is experimental music? Experimental music defies most traditional genre classifications.

This break from genre norms makes it challenging to create a precise definition of experimental music, as it can embody several characteristics of other genres without necessarily being part of them.

Because experimental music can exhibit traits of any music genre, identifying it can be challenging. Fortunately, you can use a handful of characteristics to determine whether a song is experimental.

Experimental Music Characteristics

Much like lo-fi music , experimental music spans nearly every genre, making it tricky to define and classify.

But three primary characteristics link experimental music, including:

• Unpredictability
• Use of multiple genres
• Unconventional instrumentation

Any song with one or more of these characteristics can fall into the “experimental” genre. Let's explore a few helpful examples that illustrate this.

7 Examples of Experimental Music

Because experimental music incorporates characteristics of all other genres, you can find experimental electronica, pop, and bluegrass music!

So long as a song is unpredictable and unconventional, it can be experimental. The following examples illustrate these characteristics beautifully.

Sun in My Mouth

This Björk track is from her 2001 album “Vespertine.” It features hints of classical and ambient music, but the heady lyrics and vocalization set it apart from more traditional examples of these genres.

The lyrics are poetic and abstract, though many have guessed they speak to sexual exploration or feminine desires that are often seen as taboo.

It's crucial to note that many experimental songs, in addition to utilizing unconventional timing and instrumentation, also present uncommon ideas and topics that are otherwise absent from traditional genres.

Who Could Win A Rabbit

With a cacophony of distorted guitar and vocalization, “Who Could Win A Rabbit” has an upbeat sound that hides a darker subtext.

These darker qualities become more noticeable as the song progresses, hinted at with beat-breaking breathing samples that eventually dissolve into broken dissonance and eerie sounds.

Barely two minutes long, this song is a quick snapshot of modern, pop-infused experimental music. It lacks a chorus, and its lyrics are abstract, with influences that seem to combine the experimental poetry written by E.E. Cummings and traditional nursery rhymes.

Thom Yorke, the lead vocalist of Radiohead, has created some of the most popular experimental songs of the last few decades. Some have even argued that many of Radiohead's albums fall within the genre.

However, his solo releases, including the 2006 album “The Eraser,” might be a better example of experimental music. Tracks like “Black Swan” show off his unique musical style and preferences, but they're not entirely divorced from his previous work, making them excellent footholds for fans of albums like “OK Computer.”

But be warned—this song does contain expletives, so it might not be the best track to play during a family car trip!

The Highest Flood

Matthew Barnes, better known as Forest Swords, has produced a list of groundbreaking tracks that feature unconventional instrumentation and pacing.

Though this artist's roots lie within the DJ community and genre, his modern experimental music contends with that of other well-known artists like Björk and Aphex Twin.

The 2017 track “The Highest Flood” exemplifies these qualities, utilizing repetitive samples, dissonant sounds, and spliced vocalizations to produce a distinct sound supported by consistent, soft orchestration. At just over five minutes long, it's lengthier than the average song.

“Branches” is one of the most oft-repeated John Cage creations, and it might be one of the most experimental songs ever created.

Not only does it come from the modern “father” of experimental music, John Cage, but its precise sound, tempo, and duration vary significantly from performance to performance. And in many ways, this is a track designed for live performance.

It consists of diegetic sounds produced by multiple performers tending to cacti. The pace of these sounds creates a rhythm that morphs, pauses, and quickens depending on the performer's actions.

While some might not consider “Branches” to be music, this John Cage track's controversial and experimental nature has helped it become an iconic part of the genre.

Canyons of Your Mind

Often likened to Frank Zappa and Warren Zevon, Bonzo Dog Doo Dah Band (later shortened to Bonzo Dog Band) was a psychedelic, experimental phenomenon during the late 1960s and early 1970s.

Perhaps best-known for the associations with Neil Innes and the British comedy troupe Monty Python, this band released several strange-yet-delightful tunes during their initial run, including “Canyons of Your Mind.”

Lead vocalist Vivian Stanshall begins the tune with a buttery-smooth, Elvis-esque croon, but things soon devolve into spasm-like screams and a single, unapologetic belch. Without a doubt, this song oozes unpredictability, one of the hallmarks of the experimental music genre.

The music released by Punch Brothers generally falls within the bluegrass genre. But there's a good chance you've never heard bluegrass music quite like theirs!

Their fourth studio album, “Phosphorescent Blues,” contains several tracks showing lead vocalist Chris Thile's passion for experimental music, but “My Oh My” has the most heavy-handed experimental influences.

This song's meaning is straightforward enough, discussing the need to appreciate and feel grateful for the small gifts and treasures found in one's life. But the musical composition is varied, jumping from rock-like, aggressive strumming to gentle, slower-paced instrumentation.

Both fast-paced and sentimental, the only checkbox this song doesn't fill is unconventional instrument use.

5 Top Experimental Musicians

Many notable bands and musicians have dabbled (and continue to dabble) in the experimental genre. Though the work of these artists can also fall into more traditional categories like rock, R&B, or indie, their songs tend to be anything but traditional.

Let's briefly discuss a handful of the most popular and well-known bands and musicians that have helped expand and develop the experimental music genre.

Aphex Twin is considered one of the first forms of electronic experimental music.

Though Aphex Twin's first album (“Selected Ambient Works 85–92”) was released in 1992, many of the songs created by this artist (full name Richard David James) are still celebrated today for their creative and unusual lyrics, structure, and use of electronic sound.

Some of the most popular Aphex Twin tracks include “Windowlicker” and “Come to Daddy,” both of which have controversial and experimental corresponding music videos. If you enjoy ambient and electronica genres, you may enjoy listening to this experimental artist's music.

Animal Collective

Animal Collective takes the traditional form and sound of pop music and turns it on its head, resulting in a new take on the experimental genre that may appeal to listeners who tend to avoid unconventional music.

Their 2009 album “Merriweather Post Pavilion” is a fantastic example of this distinct style. Named after a music venue in Maryland, this album has several features that make it a notable example of the experimental genre.

Its length is a palindrome (54 minutes and 45 seconds), and tracks vary from a more traditional 3 minutes and 52 seconds to a far lengthier 6 minutes.

Instead of relying on traditional instrumentation, the band utilized samplers to produce this album, giving it a mixed-media feel that other pop songs of the time lacked.

Still, Animal Collective has continued to push boundaries throughout later albums, and much of their work has inspired changes within the primary pop genre.

Even if you've never listened to experimental music, there's an excellent chance you've heard of Icelandic artist Björk.

Björk has developed herself as one of the most genre-expanding artists of the 21st century. Her eclectic and eccentric style has helped her become an icon of post-modern experimental music.

Many Björk songs feature ambient, pop, and avant-garde elements, but they twist these elements into new forms that are distinctly different from more traditional examples.

Like Aphex Twin and Animal Collective, these tracks also correspond to equally experimental music videos, offering a visual representation of the unusual nature of the songs themselves.

If you're interested in exploring Björk's experimental side, you'll likely want to listen to her 2004 album “Medúlla.” The unpredictability of each track's length and composition ensures that this album adheres to nearly all the hallmarks of the experimental music genre.

Frank Zappa

Those who enjoy classic rock music may want to explore the many diverse and experimental albums of Frank Zappa.

Zappa , often compared to Captain Beefheart and the Bonzo Dog Band, created over 100 studio albums during his career. Though each of these albums is unique, they all feature early elements of experimental music, including unconventional song lengths and the combination of unharmonious pre-recorded sounds.

However, unlike much of the modern experimental music developed today, these tracks also had a traditional rock n' roll spine that added just enough structural familiarity to make them attractive to the average listener.

Portishead's music has been described as trip-hop, indie, and alternative. But the band doesn't seem to ascribe to these genre classifications, often preferring to be known for their innovative sound and creative style.

For this reason, Portishead falls within the experimental music genre, which becomes more noticeable when listening to tracks like “Roads” or “Numb.” These tracks have ambient, jazz, and alternative elements, but they combine them uniquely.

The band's 1994 album “Dummy” is often heralded as the most experimental, making it a fantastic starting place for those hoping to introduce themselves to the experimental music genre.

The History of Experimental Music

Despite experimental music's reputation for cutting-edge composition, it's older than other genres like new age or indie. After all, all new genres technically fall under the blanket term “experimental music” before earning a unique classification.

But you can trace the experimental music genre as we understand it today to a single person: John Cage.

John Cage was an American composer who began to develop the genre in the early 1950s. His fascination with music as a spontaneous activity inspired him to develop unpredictable tracks using unconventional instruments.

Much of Cage's work had a performance aspect that differentiated it from studio-recorded rock and pop music that was commonplace at the time. However, emerging genres and artists would soon take the reigns of the experimental genre, developing it even further.

The development of electronic instruments, electronica, and EDM helped expand the experimental genre's borders.

After all, experimenting with electronic sound can result in unusual beats and sounds. When these unconventional aspects are combined, they result in electronic experimental music. But instrumental innovation isn't the only aspect that influenced the burgeoning experimental genre.

A need for less-formulaic music also helped the genre develop and expand. Though standard pop and rock songs remain popular, their rigid structures can become a boring inevitability.

For example, almost all popular songs feature two to three stanzas and a chorus that falls between each stanza. Additionally, these songs adhere to a song time limit of about three minutes or less.

Modern experimental music doesn't adhere to these structural or time restrictions. Instead, it seeks to break these rules while remaining engaging and unfamiliar.

These qualities make experimental tracks easily identifiable, as they often sound completely different from songs belonging to other genres.

What Is Experimental Music? Final Thoughts

Experimental music is any type of audio track or song that doesn't fully belong to any other genre. This type of music might not be particularly melodic, it might not feature lyrics, and it might not feature traditional instrumentation.

Though challenging to define, you'll likely recognize experimental music as soon as you hear it. You can use the tracks listed throughout this article as an excellent starting point to explore the experimental music genre.

P.S. Remember though, none of what you've learned will matter if you don't know how to get your music out there and earn from it. Want to learn how to do that? Then get our free ‘5 Steps To Profitable Youtube Music Career' ebook emailed directly to you!

Similar Posts

What is Ska Music? 7 Top Examples

Spread the love      The Mighty Mighty Bosstones. Reel Big Fish. No Doubt. Streetlight Manifesto. These iconic bands represent the ska music genre with their exuberant horns, off-beat drums, and dance-ready melodies. In this guide, we will dive into what ska music is and its history, discuss some of its most popular and influential artists, as well…

What Is Lyrical Dance? With 4 Top Examples & History

Spread the love      You may have heard of lyrical dance, but not been sure what exactly it means. Well good news, we can tell you exactly what it is right now:

What Is A Single In Music? The 7 Top Examples

Spread the love      For decades, the music industry has utilized singles to allow artists to showcase a handful of songs instead of an entire album. While singles can generate interest in a full album, singles have also been used as rocket fuel to create new stars. So, what is a single in music? Follow along as…

What Does A Guitarist Do? With Real Examples

Spread the love      Wondering what a guitarist does? Well this article helps answer questions like, “What is a guitarist?” and “What does a guitarist do?” After reading this, you’ll have everything you need to understand the many different roles of guitarists.

What Are Liner Notes?

Spread the love      If you’re interested in music, you may have seen the phrase liner notes before. But what exactly does it refer to? And what are liner notes for?

What Is Baroque Music? 7 Examples and History

Spread the love      Baroque music is immediately recognizable for its instrumentation, ornamentation, and orchestration. It’s full of unique stylistic trends and fashions that make it incredibly recognizable. While some of the unique characteristics died at the end of the era, we still have plenty of examples to celebrate the baroque style. So, let’s explore what baroque…

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

• Health Tech
• Health Insurance
• Medical Devices
• Gene Therapy
• Neuroscience
• H5N1 Bird Flu
• Health Disparities
• Infectious Disease
• Mental Health
• Cardiovascular Disease
• Chronic Disease
• Alzheimer's
• Coercive Care
• The Obesity Revolution
• The War on Recovery
• Adam Feuerstein
• Matthew Herper
• Jennifer Adaeze Okwerekwu
• Ed Silverman
• CRISPR Tracker
• Breakthrough Device Tracker
• Generative AI Tracker
• Obesity Drug Tracker
• 2024 STAT Summit
• All Summits
• STATUS List
• STAT Madness
• STAT Brand Studio

Don't miss out

Subscribe to STAT+ today, for the best life sciences journalism in the industry

Relay discloses encouraging results for experimental breast cancer treatment

Biotech plans pivotal trial against astrazeneca’s truqap for 2025.

• Manage alerts for this article
• Email this article
• Share this article

By Angus Chen

Sept. 9, 2024

Cancer Reporter

Relay Therapeutics disclosed encouraging results for its key breast cancer drug and plans to advance the experimental treatment, called RLY-2608, to a late-stage clinical trial, the biotech firm said on Monday.

The new data come from an open label phase 1/2 trial on RLY-2608 combined with fulvestrant, an endocrine therapy for breast cancer, showing a third of patients with measurable disease responded to the treatment. The data were put out in a press release from Cambridge, Mass.-based Relay, and haven’t been published in a peer reviewed journal.

advertisement

RLY-2608 works on cancers that carry mutations in a gene called PIK3CA, which encodes a piece of the PI3K-alpha protein. This molecular pathway helps to control cell growth and division, and errors in it can drive a variety of cancers including breast cancer. It’s one of the most common mutations driving cancers and is implicated in 20% to 40% of breast cancer cases . 

STAT+ Exclusive Story

Already have an account? Log in

This article is exclusive to STAT+ subscribers

Unlock this article — plus daily coverage and analysis of the biotech sector — by subscribing to stat+..

Totals $468 per year

for 3 months, then $399/year

Then $399/year

Savings start at 25%!

Annually per user

$300 Annually per user

Get unlimited access to award-winning journalism and exclusive events.

About the reporting

STAT’s investigation is based on interviews with nearly 100 people around the country, including incarcerated patients and grieving families, prison officials, and legal and medical experts. Reporter Nicholas Florko also filed more than 225 public records requests and combed through thousands of pages of legal filings to tell these stories. His analysis of deaths in custody is based on a special data use agreement between STAT and the Department of Justice.

You can read more about the reporting for this project and the methodology behind our calculations.

The series is the culmination of a reporting fellowship sponsored by the Association of Health Care Journalists and supported by The Commonwealth Fund.

Angus Chen covers all issues broadly related to cancer including drugs, policy, science, and equity. He joined STAT in 2021 after covering health and science at NPR and NPR affiliate stations. His work has been recognized by national Edward R. Murrow awards, the June L. Biedler prize for cancer journalism, and more.

More on Long Covid

STAT Plus: As Humira biosimilars take over the market, CVS has created a new ploy: the drug ‘rebate credit’

Your morning rundown of the science, politics, and money driving biotech today

Your data will be processed in accordance with our Privacy Policy and Terms of Service . You may opt out of receiving STAT communications at any time.

A new era for drug development and research

Recommended

STAT Plus: With a win in lung cancer, biotech’s wealthiest outsider surfs to new heights

STAT Plus: Detailed data show Summit therapy beat Merck blockbuster Keytruda in late-stage lung cancer trial

STAT Plus: Vor Biopharma’s ‘shielded’ transplant delays relapse in leukemia patients

STAT Plus: U.K. charities give $36 million to start new drugs for childhood tumors 

STAT Plus: Nearly 2,000 drug manufacturing plants are overdue for FDA inspections after Covid delays

Subscriber picks, stat plus: unitedhealth pledged a hands-off approach after buying a connecticut medical group. then it upended how doctors practice, stat plus: summit therapeutics vs. merck: prepping for a big lung cancer study reveal, stat plus: alnylam versus bridgebio: the attr-cm debate, doctors use problematic race-based algorithms to guide care every day. why are they so hard to change, stat plus: can amylin drugs best wegovy and zepbound companies bet on next big obesity target.

This week: the arXiv Accessibility Forum

Help | Advanced Search

Electrical Engineering and Systems Science > Image and Video Processing

Title: the impact of scanner domain shift on deep learning performance in medical imaging: an experimental study.

Abstract: Purpose: Medical images acquired using different scanners and protocols can differ substantially in their appearance. This phenomenon, scanner domain shift, can result in a drop in the performance of deep neural networks which are trained on data acquired by one scanner and tested on another. This significant practical issue is well-acknowledged, however, no systematic study of the issue is available across different modalities and diagnostic tasks. Materials and Methods: In this paper, we present a broad experimental study evaluating the impact of scanner domain shift on convolutional neural network performance for different automated diagnostic tasks. We evaluate this phenomenon in common radiological modalities, including X-ray, CT, and MRI. Results: We find that network performance on data from a different scanner is almost always worse than on same-scanner data, and we quantify the degree of performance drop across different datasets. Notably, we find that this drop is most severe for MRI, moderate for X-ray, and quite small for CT, on average, which we attribute to the standardized nature of CT acquisition systems which is not present in MRI or X-ray. We also study how injecting varying amounts of target domain data into the training set, as well as adding noise to the training data, helps with generalization. Conclusion: Our results provide extensive experimental evidence and quantification of the extent of performance drop caused by scanner domain shift in deep learning across different modalities, with the goal of guiding the future development of robust deep learning models for medical image analysis.

Submission history

Access paper:.

• HTML (experimental)
• Other Formats

References & Citations

• Google Scholar
• Semantic Scholar

BibTeX formatted citation

Bibliographic and Citation Tools

Code, data and media associated with this article, recommenders and search tools.

• Institution

arXivLabs: experimental projects with community collaborators

arXivLabs is a framework that allows collaborators to develop and share new arXiv features directly on our website.

Both individuals and organizations that work with arXivLabs have embraced and accepted our values of openness, community, excellence, and user data privacy. arXiv is committed to these values and only works with partners that adhere to them.

Have an idea for a project that will add value for arXiv's community? Learn more about arXivLabs .

Relay Therapeutics' combo therapy for breast cancer cuts disease progression in early study

• Medium Text

Sign up here.

Reporting by Mariam Sunny and Sneha S K in Bengaluru; Editing by Shilpi Majumdar

Our Standards: The Thomson Reuters Trust Principles. , opens new tab

Starboard proposes to eliminate News Corp's dual-class share structure

Starboard Value has issued a letter to News Corp shareholders at its annual meeting regarding a proposal to eliminate the media conglomerate's dual-class share structure, the hedge fund said on Monday.