Nicole's Film Blog

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 excruciatingly

 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 men and w