Avant-garde cinema

Experimental film, experimental cinema or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms and alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.

While some experimental films have been distributed through mainstream channels or even made within commercial studios, the vast majority have been produced on very low budgets with a minimal crew or a single person and are either self-financed or supported through small grants.

Experimental filmmakers generally begin as amateurs, and some used experimental films as a springboard into commercial film making or transitioned into academic positions. The aim of experimental filmmaking is usually to render the personal vision of an artist, or to promote interest in new technology rather than to entertain or to generate revenue, as is the case with commercial films.

The term describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking. Avant-garde is also used, for the films shot in the twenties in the field of history’s avant-gardes currents in France, Germany or Russia, to describe this work, and "underground" was used in the sixties, though it has also had other connotations. Today the term "experimental cinema" prevails, because it’s possible to make experimental films without the presence of any avant-garde movement in the cultural field.

While "experimental" covers a wide range of practice, an experimental film is often characterized by the absence of linear narrative, the use of various abstracting techniques—out-of-focus, painting or scratching on film, rapid editing—the use of asynchronous (non-diegetic) sound or even the absence of any sound track. The goal is often to place the viewer in a more active and more thoughtful relationship to the film. At least through the 1960s, and to some extent after, many experimental films took an oppositional stance toward mainstream culture.

Most such films are made on very low budgets, self-financed or financed through small grants, with a minimal crew or, often a crew of only one person, the filmmaker. Some critics have argued that much experimental film is no longer in fact "experimental" but has in fact become a mainstream film genre. Many of its more typical features—such as a non-narrative, impressionistic, or poetic approaches to the film's construction—define what is generally understood to be "experimental".

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