A History of Short Films - Avant Garde/Experimental/Arthouse

Because Hollywood and Mainstream films were so popular, short films could not compete. Because of this it found its own home as a type of art. 

Avant Garde and Experimental films took a strong interest in short films. They take on a range of filmmaking styles that are very different from the practices of mainstream cinema, and they often oppose them. 

An 'experimental film' is often characterised by the absence of linear narrative, the use of various abstracting techniques, such as shots being out of focus, or painting or scratching the film, and the use of non-diegetic sound. 

A famous Director in the Avant Garde and Experimental scene was Maya Deren. She was very prominent in the 40s and 50s. She was not only a filmmaker, but she was also a film theorist. She was also a choreographer and a photographer, which comes across in some of her films.

In the eaarly 40s, Deren bought a 16mm Bolex camera and began filming 'Meshes in the Afternoon.' 

'Meshes in the Afternoon' starts with an arm reaching in from the top of the frame placing a flower on the floor. It is possible that the white flower is a representation of something, possibly purity or happiness, but the next shot we see of the shadow on the floor makes an active audience member think differently. The shadow helps with the tone of the film as you are not quite sure what is going on and keeps the suspense and mystery going.

'Meshes in the Afternoon' was created by Maya Deren and husband at the time Alexander Hammid. They created it with a desire to show a personal film that dealt with devastating psychological problems using influences such as 'Un Chien Andalou.' This is very apparent as the film is quite disturbing using a circular narrative repeating a number of psychologically symbolic images including a key falling, the record player, a mysterious Grim Reaper-like cloaked figure with a mirror as a face. It was originally a silent film with no dialogue or sound, until 1959 when Deren's third husband Teiji Ito added music influenced by Japanese Classical Music. It is occasionally not in sync with the visuals which adds to that slight displacing feeling that the film creates. 

When the key is dropped, the sound effect is very dramatic and adds to the fast paced cuts. It then slows down slightly once she has picked the key back up and goes back to the tempo of cutting that was originally there. 

At about five minutes, the audience can then see where Deren's choreography comes into play with her very graceful dance-like sweep across the floor through the curtains. It is also apparent when she starts moving around on the walls using her very straight posture and her body to portray this psychological problem she may have. 

Using Deren and Hammid's influence of 'Un Chien Andalou' there is one shot very significant that this type of niche viewer would relate between the two. A very distinct shot of her eye closed is also one that appears in 'Un Chien Andalou.'