This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
In this book, Scott MacDonald examines 15 of the most suggestive and useful avant-garde films. Through in-depth readings of these works, MacDonald takes viewers on a critical circumnavigation of the conventions of moviegoing as seen by filmmakers who have rebelled against the conventions. MacDonald's discussions do not merely analyze the films; they provide a useful, accessible, jargon-free critical apparatus for viewing avant-garde film, which communicates the author's pleasure in exploring "impenetrable" works with students and public audiences.
The book is divided into three sections ("From Stern to Film", "Psychic Excursions" and "Premonitions of a Global Cinema") with five films in each section.
Kenneth Anger (born Kenneth Wilbur Anglemeyer; February 3, 1927) is an American underground experimental filmmaker, occasional actor and author. Working exclusively in short films, he has produced almost forty works since 1937, nine of which in particular have been grouped together as the "Magick Lantern Cycle", and form the basis of Anger's reputation as one of the most influential independent filmmakers in cinema history. His films variously merge surrealism with homoeroticism and the occult, and have been described as containing "elements of erotica, documentary, psychodrama, and spectacle." Anger himself has been described as "one of America's first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self-implicating manner", and his "role in rendering gay culture visible within American cinema, commercial or otherwise, is impossible to overestimate", with several being released prior to the legalisation of homosexuality in the United States. He has also focused upon occult themes in many of his films, being fascinated by the notorious English occultist Aleister Crowley, and is a follower of Crowley's religion, Thelema.
Cinema is commonly thought of as a medium that brings our dreams into waking consciousness. And our nightmares. It cannot be argued that film has gravitated toward capturing the horrific ever since its inception. The Horror genre purposefully experiments with our fears and fear comes in many forms, as we all know. Most film makers tend to take somewhat formulaic approaches to style and narrative; however, through different manipulations of sight and sound, some attempt to involve the viewer into the presentation, beyond just observing it.
These strange and frightening dreamscapes often attempt to question our perceptions - in both a visual and intellectual sense. Unfortunately, they are rarely met with much commercial acceptance or success. Nevertheless, many of the elements employed are often highly innovative and later copied by the mainstream. Look no further than 1929's impenetrable yet fascinating Un Chien Andalou for sixteen of the most peculiar minutes ever compiled, if you have any doubts. That opening eyeball scene alone is worth the watch, I assure you. Audiences of that time had seen nothing like it, but viewers today can easily spot the film's integrity.
In accordance, here I'd like to focus on some of the most unconventional, surreal, abstract, ambiguous or indulgent works to ever be made. Where nothing is as it seems. Or is it? It is within these vague perimeters that I offer ten of the most compelling experimental horror films ever made.
(Not complete yet. Some entries seem to be missing from IMDB).
Missing from IMDb:
In Stillness I Lie (Pepper Negron, 2009)
OVERLAP is a network platform that provides a space of reunion for audiovisual filmmakers and researchers dealing with the theoretical, ethical and aesthetical questions of representation and subjectivity.
This list includes relevant films to Visual Anthropology, including pieces from ethnographic films and documentaries, experimental and video-art.
Alison Nastasi's essential feminist films list is diverse and audacious, offering everything from obscure avant-garde shorts to Hollywood classics.
An introduction to "different" cinema by the now sadly defunct German website mitternachtskino.de, which offered an extensive archive of German reviews for experimental / surreal / avant-garde movies.
Since the page went offline last year, this can be understood as an hommage and a guide at the same time.
Let’s all just admit that 2012 started to get a little weird towards the end. At least Stateside, anyway. There was all that unpleasant political stuff going on; somehow rape became a gift and then it was bad again; and there was that inclement weather along the East Coast that totally had nothing to do with man-made climate change. Amid all this socialecological turmoil, we shouldn’t blame you for missing some pretty big news in the world of cinema. But we will, anyway.
After all, this year we said goodbye to one controversial auteur (Béla Tarr) and adopted a different personal pronoun for another (Lana Wachowski). Whit Stillman finally made another film after a nearly 15-year hiatus (Damsels In Distres), brilliantly showcasing the talent of Generation Me’s answer to Chloë Sevigny (Greta Gerwig). Plus, any year that a Zachary Oberzan film comes out (Your brother. Remember?) is a good year for movies. Thankfully, all that Mayan apocalypse dreck ran its course a couple years ago, leaving room for some more rarefied grapplings with the end of all things (Tarr’s number-one stunner, The Turin Horse). And all that IRL political stuff we mentioned earlier? Not nearly as troubling as 5 Broken Cameras or This Is Not A Film, movies that managed so brilliantly to elucidate the very real human loss of geopolitical conflict.
But what really blew us away this year weren’t the super-good films that defied convention or made grand political statements. Instead, we were left with our mouths agape by films helmed by auteurs confident enough to be okay simply ignoring convention, never feeling the need to prove anything outside the piece of work at hand, some of which were at ease merely reveling in the sheer virtuosity of their principal actors’ performances (The Master). Oh, and Béla, you’ll be missed. –PAUL BOWER