Dialogue/Sound in the the 'non-talking' experimental scenes

Dialogue in the experimental film was a topic of hot debate between group members and the course tutor. The problem was that some people felt that the scenes that were focusing on a form such as lighting. colour and composition (i.e. ones without dialogue) needed some sound, the reason for this I am unsure of, if there was one at all. I felt the scenes did need need sound however, because why should they? sound is not intrinsic to film meaning and is just another element of film production, like costume or gesture. The idea of the film is to rotate the importance of all these elements throughout the film to understand their importance.

editing the experimental film

Our Experimental and the Kabuki

Much of the idea for the experimental film was taken from the a small extract in the Sergei Eisenstein section of  J. Dudley Andrew's 'The Major Film Theories' book. Specifically the section on how Eisenstein took influence from the Russian Kabuki theatre, "The meaning of a kabuki play could never be understood be a recounting of the plot or gestures. It is the form of the ensemble which contains the meaning and this form, in Eisenstein's view, is as abstract and as powerful as a musical or painterly form." This translated into the idea for the experimental film by EXPERIMENTING with the ways in which each individual film form (i.e. lighting, sound, colour etc) contributed to the meaning of a scene or a film as a whole.

Experimental Risk Assess