Film movements – Experimental film (1960–2001)

Experimental film from 1960 to 2001 represents a radical departure from mainstream cinema, prioritising artistic expression, formal innovation, and personal vision over narrative coherence and commercial appeal. This period saw filmmakers challenge traditional conventions of storytelling, editing, and sound, often drawing on avant-garde movements in art, music, and literature. Key figures include Stan Brakhage, whose hand-painted films and rapid montage explored the physiology of vision; Carolee Schneemann, who integrated the body and performance into film; and Derek Jarman, whose queer, poetic works like 'Blue' (1993) pushed the boundaries of what cinema could be. Understanding this movement is crucial for A-Level Film Studies as it expands the definition of film itself, encouraging students to analyse how form, texture, and structure can convey meaning without relying on narrative.

The experimental film movement of this era is deeply connected to broader cultural shifts, including the rise of postmodernism, the counterculture of the 1960s, and the increasing accessibility of affordable film technology (e.g., Super 8). Filmmakers often worked outside the studio system, producing low-budget, personal works that challenged political and social norms. For example, the structuralist films of the 1970s, such as Michael Snow's 'Wavelength' (1967), foregrounded the materiality of film itself—its grain, light, and duration—inviting viewers to reflect on the act of perception. Later, the 1990s saw the emergence of digital video, which further democratised filmmaking and enabled new forms of experimental practice, as seen in the works of artists like Pipilotti Rist. This topic is essential for students because it demonstrates that film is not just a medium for storytelling but a tool for exploring ideas, emotions, and sensory experiences.

In the WJEC A-Level specification, experimental film is studied alongside other film movements (e.g., French New Wave, German Expressionism) to compare how different contexts shape film form. Students are expected to analyse how experimental films use mise-en-scène, editing, sound, and cinematography in unconventional ways, and to evaluate the relationship between the filmmaker's intentions and the spectator's experience. The period 1960–2001 is particularly rich because it encompasses both analogue and early digital experimentation, allowing for discussions about technological determinism and the evolution of film language. By the end of this topic, students should be able to write critically about how experimental films challenge dominant cinematic codes and offer alternative ways of seeing the world.