Anti-film
From The Art and Popular Culture Encyclopedia
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| + | "[[isochrony]] [...] Works such as ''[[Jeanne Dielman]]'', by Chantal Ackerman, ''[[Wavelength (1967 film)|Wavelength]]'' by Michael Snow, ''[[The Chronicle of Anna Magdalena Bach]]'' by Straub and Huillet, and ''[[Sleep (film)|Sleep]]'' by Andy Warhol consist almost entirely of scenes which unfold with all the deliberateness and leisureliness of actual events."--''[[New Vocabularies in Film Semiotics: Structuralism, Poststructuralism, and Beyond]]'' (2005) by Robert Stam | ||
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| - | Anti-film is film that does not respect the rules of film. For example, [[Andy Warhol]], who forces us to watch a sleeping man during five hours; [[Chris Marker]], who makes a film out of filmed photographs with ''[[La Jetée]]'', with no moving images; and [[Guy Debord]]'s ''[[Howlings in Favor of de Sade]]'' which dispenses with images and narrative altogether. {{GFDL}} | + | [[Anti-film]]s are [[experimental film]]s that do not respect the rules of [[fictional film]] and are sometimes labeled as '''unwatchable'''. The early films of [[Andy Warhol]] are a good example. He forces us to watch a sleeping man during five hours in ''[[Sleep (1964 film)|Sleep]]'' (1963) or shows us a eight hours and five minutes of continuous [[Real-time (media)|real time]] footage of a static [[Empire State Building]] in ''[[Empire (1964 film)|Empire]]'' (1964); [[Chris Marker]], who made a film out of filmed photographic stills in ''[[La Jetée]]'' (1962). |
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| + | The first anti-films were by the [[Lettrist film|Lettrists]]: ''[[Treatise on Slime and Eternity]]'' (1950) by [[Isidore Isou]], ''[[L'Anticoncept]]'' (1952) by [[Wolman]] and [[Guy Debord]]'s ''[[Howlings in Favour of de Sade]]'' (1952) were the first films to dispense with narrative altogether. | ||
| + | ==See also== | ||
| + | *[[Anti]] | ||
| + | *[[Non-narrative film]] | ||
| + | *''[[Motion(less) Pictures: The Cinema of Stasis]]'' (2015) by Justin Remes | ||
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"isochrony [...] Works such as Jeanne Dielman, by Chantal Ackerman, Wavelength by Michael Snow, The Chronicle of Anna Magdalena Bach by Straub and Huillet, and Sleep by Andy Warhol consist almost entirely of scenes which unfold with all the deliberateness and leisureliness of actual events."--New Vocabularies in Film Semiotics: Structuralism, Poststructuralism, and Beyond (2005) by Robert Stam |
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Anti-films are experimental films that do not respect the rules of fictional film and are sometimes labeled as unwatchable. The early films of Andy Warhol are a good example. He forces us to watch a sleeping man during five hours in Sleep (1963) or shows us a eight hours and five minutes of continuous real time footage of a static Empire State Building in Empire (1964); Chris Marker, who made a film out of filmed photographic stills in La Jetée (1962).
The first anti-films were by the Lettrists: Treatise on Slime and Eternity (1950) by Isidore Isou, L'Anticoncept (1952) by Wolman and Guy Debord's Howlings in Favour of de Sade (1952) were the first films to dispense with narrative altogether.
See also
- Anti
- Non-narrative film
- Motion(less) Pictures: The Cinema of Stasis (2015) by Justin Remes
