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 to describe this work, and “underground” has been used in the past, though it has also had other connotations. 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[citation needed]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”.
Though experimental film is known to a relatively small number of practitioners, academics and connoisseurs, it has influenced and continues to influence cinematography, visual effects and editing.
The genre of music video can be seen as a commercialization of many techniques of experimental film. Title design and television advertising have also been influenced by experimental film.
Many experimental filmmakers have also made feature films, and vice versa. Notable examples include Kathryn Bigelow, Curtis Harrington, Peter Greenaway, Derek Jarman, Jean Cocteau, Isaac Julien, Sally Potter, David Lynch, Gus Van Sant and Luis Buñuel, although the degree to which their feature filmmaking takes on mainstream commercial aesthetics differs widely.
My experimental film is about mobile phone takl about a poor guy in China which is living in poor viliiages and finding job in bit town, first in a bus, a fat man use the mobile phone talk very long and he own money to another fat guy, but they are in the same bus , sunddenly the owner see the guy who are talking with phone. then they run and run the owner want to catch fat man , cause the phone lost, then a yong guy picked the phone but lost it in a majiang, and the black man sold it to seller a university student bought it then give it to the poor guy, finally the poor guy can use the mobile phone and can call his mother. the idea is from a film called Grazy Stone
