Last Thursday, Natalie spoke on the life of Jonas Mekas - "the godfather of American Avant-garde". As a student interested in experimental, I found her presentation on this largely influential person in film fascinating. One aspect of Mekas' style that was touched on was his interest in rhythmic film. With recent discussion on synesthesia and cymatics in class, I can see why this figure was chosen to be presented to the class. The idea of movement and flow of not only music, but the way in which the film itself is presented, is artistic to say the least. As Mekas defines it, "cinema is light, movement". Intentional decisions to put a clip here or there in order to establish a particular rhythm is an art form in itself.
In the presentation, a point that was emphasized was the term coined by Mekas as diary film, meaning a film that looks at snapshots of one's life. This "slice of life" filming reminded me of French New Wave cinema, a genre we explored in FST 200 and excessively in upper level film classes last year. French New Wave films focused on the everyday man, his family life, and his day to day activities, with little to no embellishments. The idea was simplicity, something Mekas practiced in his experimental films.
I cannot help but draw comparisons between Mekas and French New Wave filmmakers. Mekas believed in the notion of "defiant amateurism", meaning he intended to style his films in a way that appeared less professional - shaky, handheld, repetitive. Similarly, in French New Wave, yet perhaps less intentional, the young filmmakers only had access to certain types of equipment. They had to make the most of what they had and be creative with the ways in which they film. The result appeared somewhat amateur to older filmmakers and critics, yet it became part of the style.
Jonas Mekas assisted in the establishment of Avant-garde style in America, as seen through his rhythmic, slice of life films and "amateur" technique. This paved the way for future experimentalists.
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