From: Lundgren (email suppressed)
Date: Mon Jun 26 2006 - 02:05:24 PDT
> So all these are very recent developments and we have a long way to go,
> especially in countries that have less access to films and do not have
> their own cultural history making them. But I would still argue that more
> people have heard about it or seen something today in Sweden than ten
> years ago, and this evolution doesn't go backwards.
> -Pip Chodorov
I'd might have to partly agree with you (if only to try to see things
positive). But I'd say that the questions isn't as easy as experimental
cinema being more known. I'd say that everything is more known today (mainly
because of the informaion age, and when it comes to cinema the multiply
forms of distribution - even those slightly outside the boundaries of the
But while experimental cinema might be more known (I'd still argue that it's
very much unknown by most though) this increase has to do with people being
aware of more, but partly understanding (or "informed" of) less.
I'd say that a lot of those people who has tumbled over experimental cinema
because it was mentioned in a forum (or simply reached them as a part of the
constant information flow of the modern world) approches it the way I
described (in a very narrative, classical, hollywoodish) sense.
I hope I'm wrong, and I'm glad that things looks brighter in France (or the
US etc.) but isn't this as Pablo Marin pointed out, partly the problem;
experimental cinema as "larger phenonemon" is secluded to a few parts of the
I hope one day (I'm guessing not everyone will agree with me) that
experimental cinema could be considered part of the mainstream (in the sense
that it is both so known, viewed and appreciated). But I'm not seeing that,
and I'm not sure how to get there. (I just pick up my camera and creat yet
another thing that will remain unknown. :)
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.