Nicole's Film Blog

Pulp Fiction displays a range of techniques that challenges conventional films. However I feel as though Tarantino's experimental techniques are more stylized to him compared to experimental filmmakers who focus on nonconformist ideologies and abstract surreal concepts.  Tarantino uses a separation method in the “don’t be a square” scene where Mia draws a “square” with her fingers in which a dotted white box is edited over the top. I feel that this is to remind us we’re watching a movie in an artificial LA but also it’s a reference that dates back to the 40s. The term square originates from the upcoming of jazz music to describe someone who was out of touch with the music. It makes sense that this reference was cleverly used right before entering a 50s themed restaurant which is also packed full of  intertextual references of high and low culture such as staff dressed as Marilyn Monroe and James Dean. Although unusual, I don’t feel as though editing the artificial box defines ...

 Human Traffic is a classic example of a post modernist film, from the lack of plot to the unrealistic scenery and mis-en-scene, this indie movie definitely ticks the boxes for postmodernism. Firstly the film is very stylised with bright unrealistic colours that really help to translate that 90s vibe. Whether it’s filmed this way from the perspective of the junky drug induced teens or simply for aesthetics, it really helps to convey what the 90s rave culture was all about. Theres a scene in which the workers at a fast food restaurant are literal robots, which is entirely hyper realistic but also metaphorical to reality and how such workers are perceived. We then meet the disgusting sicko manager, covered head to toe in slimy sweat whispering perverted creepy comments into employer Ninas ear. We are made to feel just as Nina does in this situation as the perception and performance of the manager is entirely exaggerated to the extent that the audience can feel equally as uncomfortabl...

Silent comedies in 1920s America had a significant impact on society and the chaotic world of the roaring 20s as it provided many a joyous escape from reality. It was a universal attraction, for people of most classes (costing around 25 cents or less) to gather and socialise in an upbeat environment. Due to the films having no spoken words, all cultures and people from different backgrounds could understand the plots and enjoy the stunts, overall contributing to the boom. Buster Keaton is a prime example of a filmmaker who referenced key cultural contexts and helped the succession of early film production.  Keaton often embraced or even mocked upcoming technology in his films, from a bed that turns into a piano to a sink that transforms into a sofa. During the opening of Keaton's short film The Scarecrow, a multi-purpose table is seen in wide shot. This space-efficient and labor-saving device is a clear reference to the great joke of Rube Goldberg's comics which was published i...

Non- narrative and Non- linear Most conventional films follow a narrative which strictly follows a linear sequence, or at least one that can be followed with ease. However, experimental films tend to have little to no structure when it comes to narrative or follow one that is more symbolic. Structure in experimental films can be found in recurring themes, popular in surrealist films such as “An Andalusian Dog” which expresses themes such as death and decay, sexual harassment and male dominance. However, there is still a feeling of disconnection and contrast as these themes often jump from one to another, frequently juxtaposing each other to add further confusion and overall WTF!!! This film also follows dream logic which means there is little to zero correlation between scenes and all rules of logic disappear. Visuals and Sound One film that uses a wide range of unconventional visual effects is “Light is Waiting” by Micheal Robinson. At first we see the beginning of an innocent family ...

 Teacher calls out students name and student awakes from her sleep on the desk. When she realises she fell asleep in school her cheeks become red and the student apologises. Her leg begins to bounce as she feels the stares of her classmates grow and their whispers become louder. A fisheye lens is used on classmates faces to amplify her social anxiety. Classmates voices become distorted and indistinguishable. The camera zooms into her face as she becomes more distressed and her breathing starts to increase. We also hear the beating of her heart increase accompanied by ominous non-diegetic music. We see mushrooms begin to rip through her skin and she tries to cover them with her sleeves from her perspective. She grabs her bag and runs out of class, it then cuts to the bathroom where she splashes her face with water. When she looks into the mirror, the lighting switches to red as she sees her body being consumed by mushrooms. She tries closing her eyes but the pain becomes excruciatin...

 One Week  Released: September 1, 1920 One Week is centred around the newlywed couple, played by Buster Keaton and Sybil Seely. We follow them on their misfortunes and comedic attempt to build their very own flat pack house which results in a dysfunctional mess due to the jealous sabotaging of Hank, whom was rejected by Sybil. After Keaton pieces the mismatched house together it can be seen to reflect cubism due to the diagonal inharmonious lines which is very relevant to the 1920s since Picasso was booming along with the economy.  Buster discovers Sybil painting a pair of hearts on the wall of their house and kisses her, then runs away almost lovestruck like a little boy. This evidently shows how unconditional their love is and although this was not the conscious goal, the relationship shared between the couple is very loving and equal. This could possibly support the improvement to women's individuality and freedom in the 1920s as they were able to join speakeasies with...