Edward S. Small: Direct Theory: Experimental Film/Video as Major Genre (1994)

6 September 2011, dusan

“Undulating water patterns; designs etched directly into exposed film; computer- generated, pulsating, multihued light tapestries—the visual images that often constitute experimental film and video provide the basis for Edward S. Small’s argument for a new theory defining this often overlooked and misunderstood genre. In a radical revision of film theory incorporating a semiotic system, Small contends that experimental film/video constitutes a mode of theory that bypasses written or spoken words to directly connect Ferdinand de Saussure’s “signifier” and “signified,” the image and the viewer. This new theory leads Small to develop a case for the establishment of experimental film/video as a major genre.

Small contends that the aesthetic of experimental film/video would best be understood as a coordinate major genre separate from genres such as fictive narrative and documentary. He employs eight experimental technical/structural characteristics to demonstrate this thesis: the autonomy of the artist or a-collaborative construction; economic independence; brevity; an affinity for animation and special effects that embraces video technology and computer graphics; use of the phenomenology of mental imagery, including dreams, reveries, and hallucinations; an avoidance of verbal language as either dialogue or narration; an exploration of nonnarrative structure; and a pronounced reflexivity—drawing the audience’s attention to the art of the film through images rather than through the mediation of words.

Along with a theoretical approach, Small provides an overview of the historical development of experimental film as a genre. He covers seven decades beginning in France and Germany in the 1920s with European avant-garde and underground films and ends with a discussion of experimental videos of the 1990s. He highlights certain films and provides a sampling of frames from them to demonstrate the heightened reflexivity when images rather than words are the transmitters: for example, Ralph Steiner’s 1929 H2O, a twelve-minute, wordless, realistic study of water patterns, and Bruce Conner’s 1958 A Movie, which unites his themes of war-weapons-death and sexuality not by narrative digesis but by intellectual montage juxtapositions. Small also examines experimental video productions such as Stephen Beck’s 1977 Video Weavings, which has a simple musical score and abstract images recalling American Indian rugs and tapestries.

Small adds classic and contemporary film theory discussions to this historical survey to further develop his direct-theory argument and his presentation of experimental film/video as a separate major genre. He stresses that the function of experimental film/video is “neither to entertain nor persuade but rather to examine the quite omnipresent yet little understood pictos [semiotic symbols] that mark and measure our postmodern milieu.”

Publisher SIU Press, 1994
ISBN 0809319209, 9780809319206
122 pages


EPUB (updated on 2012-7-9)

2 Responses to “Edward S. Small: Direct Theory: Experimental Film/Video as Major Genre (1994)”

  1. victor arroyo on July 9, 2012 4:42 pm

    Hi there.., first congrats in this work you do..!!. The material you shared has been a fantastic source for my research, having said that, Kudos..!!

    I came late to your website, ad there are many links not working anymore. I’m mainly interested in film and cinema material. I don’t want to overwhelming you with tons of requests, however, is it possible you could update the link for this book..??. Tell me more about this kind of requests, as I have probably 20 more..!!, ajaa, Lol. Anyway, thanks in advance. Cheers.

  2. dusan on July 9, 2012 5:52 pm

    hey Victor, glad you like the site. The link is updated. Send us the other requests by email.

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