Choose a short film you would consider fits the definition of experimental. It could be from a formative or conceptual perspective, outlined in the lecture.
Consider how you might present the argument using the following criteria
Wells, P., 1998. Understanding animation. London: Routledge.
• Categorisation: Genre & Sub-genre what is the works background / setting, mood / tone, theme or topic? How does it comment? Does it fit or is it unique?
• Form and Function; interpreting meaning and relating it to the format, or presentational mode (What are the artist objectives and limitations?)
• Process: The techniques, materials and technologies applied within the work and the relationships between message and medium, (Does process, technique or tool become the message?)
• Formal Elements; Use of space, composition, Light & colour, movement, rhythm, timing, pacing, transition and audio relationships. ( does the work investigate these or other formal elements?)
Classification
This experimental film is based on the music of “Hungarian Rhapsody No. 2” composed by Hungarian romantic master Franz Liszt. With the dazzling dance of abstract geometric figures, it jointly constructs a visual scene in the spiritual world. poetry.
Form and Function
William Moritz explores this in his book Optical Poetry: The Life and Work of Oskar Fischinger, writing: “A keen sense of depth becomes the In the conceptual part, the circles surrounding each other are shown as a figure of the universe that may be a microscopic cell or a star structure…
In an age of endless computer-generated digital imagery, modern audiences may dismiss these sights; the film is a handcrafted work of analog mood that takes viewers on an abstract journey that could inspire any number of interpretations.
Process
This stop-motion animation work is slow enough, but given that Fischinger is moving not rigid metal model joints, but lightweight parts suspended by thin wires and therefore prone to wobbling, he had to make sure each part was stable before exposure. Artist Use a broomstick with a feather attached to the end as a “stabilizer”
Moritz further notes, ‘In most of Oscar’s films, the complex choreography often requires a dozen figures moving at the same time, some in the same direction, but others at different angles or directions, so each exposure is slow. , must be carefully monitored. “Carefully monitored” is a rather understatement; one wrong calculation can ruin a shot and cost many hours of work.
Formal Elements
In the dark blue background space, the flat circles fly into people’s sight with gradual red layers. Then, some blue squares and rectangles began to appear, as well as triangles. These shapes seem to have life, moving quickly on the screen following the rhythm of the music. When the picture returns to the original red circle again, Liszt’s heroic Adagio and playful Allegro come to an abrupt end in this magical microcosm .