In artistic creation, many students may have heard the word "experimental". For example, experimental images, experimental photographic works, experimental avant-garde art, etc. "Experimental" seems to be a word accompanied by uncertainty, but also implies the meaning of avant-garde and avant-garde. During the production of the collection, many students also hope to inject some experimental breakthroughs into their own collection. But "experimental", in the field of art, is often a simple thing to say and easy to do. So, what is the experiment in art creation? Why are many films that do not seem to be "experimental" called "experimental images"? How to integrate experimental works?
Today, we would like to share with you some film artists who are very avant-garde in the field of image and art. They are almost experimental. Below, natural light Portfolio training Let's find the answer from them!
Jan Svankmajer
Jan Svankmajer/Yang Shiyunmeier is a director artist from Prague, Czech Republic. Since his student days, he has been keen on some surreal types of films and shooting techniques, and this hobby has been extended into his own experimental animation system. He is good at stage settings, and also good at using some objects for personification.
In his works, even if actors participate, it is also a state of "personification". He uses infinite imagination and surreal creative techniques to express human desires. His animated films are often contradictory and antagonistic, including crazy grotesque, uncomfortable sense of cramp, and humorous black humor.
How to integrate experimental works? In Svankmajer's animated films, his experimentalism is more reflected in the stories under the camera than in the shooting language. He is good at expressing his ideas with absurd and shocking stories, combined with strange things, because in his view: "The purpose of creating new illusions is to let everyday things have life again."
Recommended film:<Food J í dlo>
In this short film with no dialogue in less than 20 minutes, the human emotion is magnified to an uncomfortable degree. The film is divided into three parts: breakfast, lunch and lunch. Two people with different identities sit face to face silently, representing the man who takes the initiative from the quiet eating appearance at breakfast; At Chinese meal, they showed no compromise and began to swallow anything on the table, even if they were not food; When it comes to dinner, I start to eat a part of my body.
The whole picture of the film, from the initial banter to the later, is slightly nervous and scary. It can't help but make people feel afraid. Under human nature, desire controls our thoughts and behaviors, and all the cynicism is eaten by the picture in the story.
Nobuhiko Obayashi
Ohbayashi/Nobuhiko Obayashi can be said to be a representative Japanese filmmaker. In his films, almost every frame is an experiment. Even many people have said: Ohbayashi's films are too experimental and I can't accept them. He is good at combining delicate emotions with weird ideas, and he is also good at using unique stop frames and quick cuts to render such blended emotions. In his films, everything is weird, but full of wonderful beauty.
From the age of six, he tried his best to create small animations. Until the age of 15, he completed his internship at the shooting scene of Ozu Yashiro's Tokyo Story. His film talent also lasted until he entered the university, which was different from most of the regular learning at that time Studying abroad in film production When he was in college, he often shot 8mm and 16mm homemade films.
Influenced by the American avant-garde art at that time, Ohlin Xuanyan's films began to appear a kind of style between psychedelic and slightly scary. Since very early days, Ohlin Xuanyan has been trying to experiment, not only in the expression of ideas, but also in the control of equipment and shooting technology. This advanced experimental style has been extended from short films to some commercial films and advertising films taken by Ohlin Xuanyan in his later years.
Compared with most of the films made by filmmakers are for the audience, the films of Ohlin Xuanyan tend to be more personalized, and more often like a record of personal thoughts.
In 1977, Ohlin Xuanyan's horror comedy film<House>was released, which is still regarded as a classic by many people today. The girls in the film still show a fantastic beauty in the horrible atmosphere, while the visual effects of collage and frame melting give a very cult feeling.
Recommended film:<It is said that in the afternoon, sometimes vampires will be encountered>
Although<House>is the representative work of Ohlin Xuanyan, this film is not inferior. It continues the distinctive style of Ohlin Xuanyan that has been formed in<House>, with collage, mixed cutting and jumping. Although the plot is stereotypical, that is, the story of a girl falling in love with a vampire, the experiment has always existed in the whole 40 minute film.
In this film, Ohlin Xuanyan is crazy about the experimental style and overflows the screen. The picture is strange and unique. Although the form is a bit chaotic, it is absolutely avant-garde. The highly surreal characteristics also make this film full of cult's unique fun under the color of terror.
Georges Méliès
Georges M é li è s/George Merrie is right to say that he is the most influential artist in the history of film and video. He is most different from ordinary people, and the most impressive thing is his imagination, which may be due to his identity as a magician. And Yang Shiyunmeier, whom we talked about at the beginning of today, is the most famous among M é li è s fans.
In addition to this interesting professional identity, M é li è s is the first director in the film history. He has completely brought his magic into the film and created a lot of film shooting techniques with magician like ideas and inspiration, such as slow action, fast action, stop and shoot again, fade out, superposition and so on. For Mei Li'ai, film is not only an art medium to carry stories, but also an art itself.
He has created many "firsts" in film and television. Most of these firsts have become classics in film and television, and have influenced the development of film. In his life, M é li è s made hundreds of films, but limited to the technology at that time, most of them were short films. Even under such restrictions, he still created many artistic expressions of film, such as integrating drama elements into the film and using drama structure to build the film story framework.
In general, M é li è s' experimental nature to the film itself is to discover the magic in the film again and again. He changed the film from a way of recording to an art form, and through editing and later creation, he transformed the film technology into a new art language. Perhaps for Merry Eyre, movies are also a wonderful way for him to complete his magic.
Recommended film:<Journey to the Moon>
This film is one of the most representative works of M é li è s, which not only caused a great sensation at that time, but still has a fantastic sense of beauty until today. The prototype of the film comes from two classic science fiction novels, "From the Earth to the Moon" and "The First Man to the Moon", which have made their names in the history of science fiction. Based on this inspiration, this film has also become the first science fiction film in the film history.
There were two versions of the film at the time of shooting, one was a black and white version, and the other was finished by hand coloring. Before this film, the film has always been a way to record and describe the reality. Although many previous films have begun to have humor, plot, horror and other styles, science fiction is still an untouched field. On the one hand, it is difficult to achieve technically. On the other hand, most of the film makers' ideas at that time still remained.
What is experimental? How to understand the experimental nature of art? At the image level, what does experimental mean? And, how to integrate experimental works? And don't roll over? First of all, experimentalism is actually a term with timeliness. Why do many films or works of art seem not "experimental" now, even a little cheap and boring? Because experimentation is often based on the time when the artwork was created.
Secondly, how to understand the experimental works? As for experimental art creation, whether it is dynamic images or static art paintings, it does not refer to a single aspect, not only technology, but also ideas. It is multifaceted and comprehensive. Different artists may have their own emphasis in practice, but on the whole, it is based on the artistic creation itself.
Finally, how to integrate experimentation into their own works? Seriously, it is difficult to control the experimental nature, especially for students with zero foundation or weak artistic creation foundation, it is actually more difficult, but it does not mean that experimental nature cannot be realized in the concentration of works. My suggestion is that when you can't completely control your own ideas and creative forms, you should not experiment at first, or to put it bluntly, it is to show your innovative consciousness, regardless of the need to experiment. After seeing the works of several artists today, I think you can also find that no matter where they are experimenting, they have never been divorced from their theme and original intention of expression. We will not experiment just to show off our skills. The premise of all experiments is actually around your work itself. After defining the main line of creation and development, we can try to make an "experimental" attempt from the perspectives of materials, theme divergence, expression forms, creative media, etc.
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