Rating is available when the video has been rented.
This feature is not available right now. Please try again later.
Published on Apr 15, 2010
-Abstract Experimental Film Noir
---The following Info on *Video Art* and Experimental Film was taken from Wiki---
Video art is a type of art which relies on moving pictures and comprises video and/or audio data. (It should not however be confused with television or experimental cinema). Video art came into existence during the 1960s and 1970s, is still widely practiced and has given rise to the widespread use of video installations.
Video art is named after the video tape, which was most commonly used in the form's early years, but before that artists had already been working on film, and with changes in technology Hard Disk, CD-ROM, DVD, and solid state are superseding the video tape as the carrier. Despite obvious parallels and relationships, video art is not experimental film. One of the key differences between video art and theatrical cinema is that video art does not necessarily rely on many of the conventions that define theatrical cinema. Video art may not employ the use of actors, may contain no dialogue, may have no discernible narrative or plot, or adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction is important, because it delineates video art not only from cinema but also from the subcategories where those definitions may become muddy (as in the case of avant garde cinema or short films). Perhaps the simplest, most straightforward defining distinction in this respect would then be to say that (perhaps) cinema's ultimate goal is to entertain,[dubious -- discuss] whereas video art's intentions are more varied, be they to simply explore the boundaries of the medium itself (e.g., Peter Campus, Double Vision) or to rigorously attack the viewer's expectations of video as shaped by conventional cinema (e.g., Joan Jonas, Organic Honey's Vertical Roll).
EXPERIMENTAL FILM Experimental film or experimental cinema 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 shots in the twenties in the field of history's avant-gardes currents in France or Germany, to describe this work, and "underground" has been 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. Like in the present time. 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, quite often, a crew of only one person, the filmmaker. It has been argued that much experimental film is no longer in fact "experimental," but has in fact become a film genre  and that 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"