Experimental Film Narrative (1960-2000)

General Traits

Experimental film narratives often defy traditional settings, disregarding conventions established by mainstream cinema.
The focus is not necessarily on the story, but on how the narrative can be unstructured to elicit a more profound emotional response.
Many experimental films establish their narrative through metaphorical or symbolic representation rather than through exposition.

Films from the period often employ non-linear or fragmented narratives. Chronological storytelling is often eschewed for a more impressionistic presentation.
The narrative trajectory is frequently ambiguous and may not have a clear start, middle and an end. This ambiguity allows for multiple interpretations by the audience.
Concepts of time and space are manipulatable, often used in a manner that is disorienting to provoke audience intrigue or discomfort.

The absence of traditional plot devices, or an emphasis on non-narrative elements such as visual or sound can be a defining feature.
Conflicts, character development, resolutions - integral parts of traditional narratives - may be missing or deliberately confusing.
Experimental film narratives often favour background, atmosphere and theme over story progression and character arcs.

Experimental narratives often require active engagement by the viewers as the nature of the story is subjective and open-ended.
Every viewing experience can offer new interpretations, conflicting understandings, and is often designed to provoke deeper thought.
The narratives and their construction are devoted to challenging mainstream expectations of cinema and storytelling.