The world of experimental or avant-garde (vanguard) cinema has a history just as rich as narrative film (it could be said that the two run on parallel tracks). While usually associated with European filmmakers, America has its own rich tradition of avant-garde and experimental filmmakers. Very loosely defined as any film that doesn't use narrative cinematic technique to achieve its goals, the avant-garde is worthy of study for any filmmaker or student of film. The Dissolve recently featured two experimental avant-garde shorts -- one by the filmmaker who made the amazing credits for Enter The
Your first day of film school is right around the corner and maybe you’re already thinking about what kind of gear you’ll need to make the most of it. Sure, you’ll most likely get access to a lot of great equipment through your film school, but what if you want to practice framing a shot, lighting an interview subject, or capturing sound on your own?
It may sound redundant, but to many people a Hitchcock film would not be a Hitchcock film without Hitchcock. By this I mean not only Hitchcock’s masterful command of light and shadow, camera movement, and editing, but also the brief, witty appearances of the man himself, in front of the camera.
Has any filmmaker, of any era, had more influence on documentaries than Dziga Vertov? We know the early 20th-century Soviet cinema theorist and director of avant-garde non-fiction films has a place high in the documentary pantheon by virtue of his 1929 Man with a Movie Camera alone.
For anyone who is enamored with film or remains a devotee of performance, video art can be like a happy marriage between the two. The great works of video art that are available to watch online are like a never-ending museum that is always growing and never closes. This collection should serve as a compact introduction to video art for anyone who's uninitiated or a handy compilation for anyone who loves the medium but has some trouble finding the good stuff online. Enjoy!
If you, as a filmgoer, have anything in common with me — and if you happen to live in Los Angeles as well — you've spent the past few weeks excited about the Andrei Tarkovsky double-bill coming up at the Quentin Tarantino-owned New Beverly Cinema.
In the course of just seven feature films – Ivan’s Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1974), Stalker (1979), Nostalgia (1983) and The Sacrifice (1986) – Andrei Tarkovsky changed what cinema as an artform could achieve. Despite the lack of canonical consensus today as to which filmmakers should be counted as the true greats, one can make this claim about Tarkovsky because many active filmmakers today tell us as much.
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