Essay - Film Experimental Narrative and the Lyrical Film as Pointed Out...

FILM

***** NARRATIVE

*****

THE LYRICAL FILM

***** pointed out in Chapter 21, "Documentary and Experimental Cinema in the Post War Era: 1945—Mid—1960's," at the end of World War II ***** 1945, documentary and avant-garde filmmaking "underwent enormous changes around the world" (477), due in part to the rise of new technologies related to more sophisticated ***** easier to handle cameras and ***** creation of institutions dedicated to the creation of experimental film techniques. Overall, filmmakers were seeking new ***** innovative ways to express not only themselves but also how they viewed the ***** and its various cultural systems following the horrors and genocide of ***** War II at the hands of Nazi Germany and Stalin's Soviet Union. This new tr***** toward personal expression, closely linked to an increase in interest in ***** artistic style known as Abstract Expressionism, "was also visible ***** experimental film" *****d in documentary filmmaking, both ***** which became important vehicles "for the filmmaker's beliefs and feelings than had been usual" be*****e the end of the war (477).

Before 1950, most documentary filmmakers "had sought to control chance ***** a gre*****t degree," meaning that when filming a *****, the director and/or author would make sure ***** everything fit nicely into the overall structure of the film being made, even casual actions ***** would be "smoothly absor*****d ***** a l*****rger structure ***** meaning" (477) via film editing and what is ***** as voice-over commentary, a form of narration in which an *****f-screen person describes and/or speaks ab***** what is occurr*****g in the film.

Some documentary filmmakers like Robert Flaherty, considered as one of the founding fathers ***** ***** film and ***** an integral part of the "mythology ***** the burgeoning world-wide documentary movement of ***** 1930's" (Williams, 2002, Internet), and Humphrey Jennings, the "quintessentially Engl*****h filmmaker" often referred to as the "only real poet ***** British cinema has yet produced" as of 1954 (Danks, 2006, Internet), "resorted *****... more strongly controlling *****" when ***** a documentary, even going so far ***** to stage scenes for the camera, *****mething closely akin to traditional narrative filmmaking. But when Cesare Zavattini brought ***** the *****efront his film work based on Neo-realism, most documentarians quickly realized ***** power of the unc*****trolled *****t, or in other words, capturing "the spontaneous moment" on film which ***** led to very surprising results (477).

Some documentarians took things even further al*****g the road to free expression in film by tuning in to the growing interest in Dadaism, ***** closely associated with Salvador Dali, and specific surrealist conceptions and ideas which hopefully would result in some type ***** "revelatory accident" on film (477), much ***** *****'s well-known painting The Persistence of Memory with its dripping watch hanging in the limbs of a tree. T***** soon ***** *****s to experiment with the idea of ********** *****s into a film as part of their own personal expression, such as stumbling across "lucky *****errations of light or color" which added surrealistic concepts to the film (478). When the avant-garde