. . . "Experiment\u00E1ln\u00ED film je druh filmu, jeho\u017E po\u010D\u00E1tky sahaj\u00ED do 20. let 20. stolet\u00ED. P\u0159\u00EDklad experiment\u00E1ln\u00EDho filmu je (1926) nebo (1961-1964) Stana Brakhage. Mezi experiment\u00E1ln\u00ED re\u017Eis\u00E9ry pat\u0159\u00ED nap\u0159\u00EDklad i Andy Warhol."@cs . . 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"Zinema esperimental"@eu . . . . 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Cin\u00E9maton 150 \u0433\u043E\u0434\u0438\u043D), \u0447\u0438 \u0434\u0443\u0436\u0435 \u043A\u043E\u0440\u043E\u0442\u043A\u043E\u044E(1 \u0441\u0435\u043A\u0443\u043D\u0434\u0443 -\u043D\u0430\u043F\u0440. \u00ABone-second movie\u00BB)."@uk . . . . . "El cine experimental es un arte visual que ampl\u00EDa y desplaza los l\u00EDmites del lenguaje audiovisual y del cine narrativo convencional que tradicionalmente se hab\u00EDan estructurado alrededor de un relato argumental respetando el armaz\u00F3n del guion y que utiliza nuevos recursos para expresar y hacer sentir emociones, experiencias, sentimientos y concepciones del mundo al espectador. En muchas obras de cine experimental, por lo tanto, aquello narrativo cede ante los experimentos de tipo formal, siendo frecuente el uso de efectos pl\u00E1sticos o r\u00EDtmicos ligados al tratamiento de la imagen y el sonido. Por consiguiente, se trata de un m\u00E9todo de producci\u00F3n cinematogr\u00E1fico que modifica rigurosamente las convenciones f\u00EDlmicas y explora alternativas para las formas de trabajo tradicionales.\u200B Muchas pel\u00EDcul"@es . . . . . . . . "Cinema experimental"@ca . . . . . . . . . . . . "Film eksperimental, sinema eksperimental atau sinema avant-garde adalah sebuah mode pembuatan film yang mengevaluasi ulang konvensi sinematik dan mengeksplorasi bentuk-bentuk non-naratif dan alternatif dari naratif tradisional atau metode pengerjaan. Beberapa film eksperimental, terutama yang terawal, berkaitan dengan seni rupa dalam disiplin lainnya: melukis, menari, sastra dan puisi, atau timbul dari riset dan pengembangan sumber daya teknikal baru."@in . . . "1116558572"^^ . "Experiment\u00E1ln\u00ED film"@cs . . "\u03A0\u03B5\u03B9\u03C1\u03B1\u03BC\u03B1\u03C4\u03B9\u03BA\u03CC\u03C2 \u03BA\u03B9\u03BD\u03B7\u03BC\u03B1\u03C4\u03BF\u03B3\u03C1\u03AC\u03C6\u03BF\u03C2"@el . . . . . . . . . . . . . . . . . "\u5B9E\u9A8C\u7247\uFF08\u82F1\u8A9E\uFF1Aexperimental film\uFF09\u53C8\u7A31\u5B9E\u9A8C\u7535\u5F71\u3001\u524D\u536B\u7535\u5F71\u3001\u5148\u950B\u7535\u5F71\uFF0C\u662F\u4E00\u79CD\u7535\u5F71\u62CD\u6444\u6A21\u5F0F\uFF0C\u5B83\u4E25\u8083\u5730\u91CD\u65B0\u8BC4\u4F30\u4E86\u7535\u5F71\u60EF\u4F8B\uFF0C\u5E76\u63A2\u8BA8\u4E86\u4EE5\u975E\u53D9\u8FF0\u5F62\u5F0F\u66FF\u4EE3\u4F20\u7EDF\u53D9\u8FF0\u624B\u6CD5\u6216\u5DE5\u4F5C\u65B9\u6CD5\u3002\u8BB8\u591A\u5B9E\u9A8C\u7247\uFF0C\u5C24\u5176\u662F\u65E9\u671F\u7684\u5B9E\u9A8C\u7247\uFF0C\u90FD\u4E0E\u5176\u5B83\u827A\u672F\u5F62\u5F0F\u76F8\u5173\uFF1A\u7ED8\u753B\u3001\u821E\u8E48\u3001\u6587\u5B66\u548C\u8BD7\u6B4C\uFF0C\u6216\u8005\u7531\u7814\u7A76\u548C\u5F00\u53D1\u65B0\u6280\u672F\u8D44\u6E90\u800C\u5174\u8D77\u3002 \u867D\u7136\u6709\u4E9B\u5B9E\u9A8C\u7247\u901A\u8FC7\u4E3B\u6D41\u6E20\u9053\u53D1\u884C\uFF0C\u751A\u81F3\u6709\u4E9B\u5728\u5546\u4E1A\u5DE5\u4F5C\u5BA4\u5236\u4F5C\uFF0C\u4F46\u7EDD\u5927\u591A\u6570\u5B9E\u9A8C\u7247\u7684\u9884\u7B97\u90FD\u975E\u5E38\u4F4E\uFF0C\u5DE5\u4F5C\u4EBA\u5458\u4E5F\u975E\u5E38\u5C11\uFF0C\u751A\u81F3\u53EA\u6709\u4E00\u4E2A\u4EBA\uFF0C\u5176\u8D44\u91D1\u901A\u5E38\u81EA\u7B79\uFF0C\u6216\u7531\u5C0F\u989D\u6350\u8D60\u652F\u6301\u3002 \u5B9E\u9A8C\u7247\u5236\u4F5C\u4EBA\u901A\u5E38\u90FD\u662F\u4F5C\u4E3A\u4E1A\u4F59\u7231\u597D\u8005\u5F00\u59CB\u7684\uFF0C\u6709\u4E9B\u4EBA\u4F1A\u4EE5\u5B9E\u9A8C\u7247\u4F5C\u4E3A\u8FDB\u5165\u5546\u4E1A\u7535\u5F71\u5236\u4F5C\u7684\u8DF3\u677F\uFF0C\u6216\u901A\u8FC7\u5176\u8FC7\u6E21\u5230\u5B66\u672F\u804C\u4F4D\u3002\u5236\u4F5C\u5B9E\u9A8C\u7247\u7684\u76EE\u7684\u901A\u5E38\u662F\u4F7F\u4E2A\u4EBA\u5F62\u8C61\u66F4\u50CF\u4E00\u4E2A\u827A\u672F\u5BB6\uFF0C\u6216\u8005\u4FC3\u8FDB\u5BF9\u65B0\u6280\u672F\u7684\u5174\u8DA3\uFF0C\u800C\u4E0D\u662F\u50CF\u5546\u4E1A\u7535\u5F71\u90A3\u6837\u4E3A\u4E86\u5A31\u4E50\u6216\u8D5A\u94B1\u3002"@zh . . . . . . "\u5B9F\u9A13\u6620\u753B"@ja . "Con i termini cinema sperimentale o film sperimentale (in inglese experimental cinema) ci si riferisce a una particolare tipologia di cinema, la cui pratica estetica viene comunemente associata a un territorio di confine fra le arti visive e il cinema; i termini \"sperimentale\" e \"cinema\" furono usati per la prima volta in relazione diretta nel 1930 dalla rivista statunitense Experimental Cinema."@it . "Experimental film"@en . "Eksperimenta kinarto"@eo . "\u0641\u064A\u0644\u0645 \u062A\u062C\u0631\u064A\u0628\u064A"@ar . "\uC2E4\uD5D8 \uC601\uD654(\u5BE6\u9A57\u6620\u7575)\uB77C\uB294 \uBAA8\uD638\uD55C \uB2E8\uC5B4\uB294 \uADF8 \uB3D9\uC548 \uAD6D\uB0B4\uC5D0\uC11C \uC77C\uBC18\uC801\uC73C\uB85C \uC77C\uBCF8\uC5D0\uC11C \uC0AC\uC6A9\uD558\uB358 \uC6A9\uC5B4\uAC00 \uC720\uC785\uB41C \uAC83\uC73C\uB85C \uAC04\uC8FC\uB418\uC5C8\uB2E4. \uC77C\uBCF8\uC740 \uC774\uBBF8 1960\uB144\uB300\uBD80\uD130 \uC2E4\uD5D8\uC601\uD654\uC81C\uAC00 \uC5F4\uB838\uC73C\uBA70, \uB9CE\uC740 \uC601\uD654 \uAC10\uB3C5\uB4E4\uC774 \uB2E4\uC591\uD55C \uC2E4\uD5D8\uC601\uD654\uB97C \uC81C\uC791\uD574 \uC654\uAE30 \uB54C\uBB38\uC5D0 \uC5EC\uD0C0 \uADF9\uC601\uD654\uC640 \uB9C8\uCC2C\uAC00\uC9C0\uB85C \uC77C\uBCF8\uC758 \uC601\uD5A5\uC744 \uBC1B\uC558\uC744 \uAC83\uC774\uB77C \uC0DD\uAC01\uD574\uC654\uB358 \uAC83\uC774\uB2E4. \uD558\uC9C0\uB9CC \uC2E4\uD5D8 \uC601\uD654\uB77C\uB294 \uC6A9\uC5B4 \uC790\uCCB4\uB294 \uD55C\uAD6D\uC5D0\uC11C \uC560\uB2C8\uBA54\uC774\uC158, \uADF9\uC601\uD654, \uB2E4\uD050\uBA58\uD130\uB9AC\uC640 \uAC19\uC774 \uC5B4\uB5A4 \uD2B9\uC815\uD55C \uD615\uD0DC \uD639\uC740 \uC7A5\uB974\uC758 \uC601\uD654\uB97C \uAC00\uB9AC\uD0A8\uB2E4\uACE0 \uBCF4\uAE30 \uC5B4\uB835\uB2E4. 2016\uB144 \uC11C\uAC15\uB300\uD559\uAD50 \uC624\uC900\uD638 \uAD50\uC218\uC5D0 \uC758\uD574 \uC720\uD604\uBAA9\uC758 <\uC190>(1966/67)\uC758 \uD504\uB9B0\uD2B8\uB97C \uCE90\uB098\uB2E4\uC5D0\uC11C \uBCF4\uAD00\uD558\uACE0 \uC788\uB2E4\uB294 \uC0AC\uC2E4\uC774 \uD655\uC778\uB41C \uC774\uD6C4 \uD55C\uAD6D\uC601\uC0C1\uC790\uB8CC\uC6D0\uC5D0 \uC218\uC9D1\uB418\uC5B4 \uC77C\uBC18\uC5D0 \uACF5\uAC1C\uB418\uAE30 \uC804\uAE4C\uC9C0 \uD55C\uAD6D\uC5D0\uC11C \uC2E4\uD5D8\uC601\uD654\uAC00 \uAC16\uB294 \uC758\uBBF8\uB294 \uC27D\uC0AC\uB9AC \uD30C\uC545\uB418\uC9C0 \uBABB\uD588\uB2E4. \uC624\uB79C\uAE30\uAC04 \uB3D9\uC548 \uB300\uBD80\uBD84\uC758 \uC601\uD654 \uC5F0\uAD6C \uC11C\uC801 \uD639\uC740 \uB17C\uBB38\uC5D0\uC11C\uB294 \uC720\uD604\uBAA9 \uAC10\uB3C5\uC774 \uC2E4\uD5D8\uC601\uD654 \uAD00\uB828 \uB2E8\uCCB4\uB97C \uC870\uC9C1\uD558\uC5EC \uD65C\uB3D9\uD588\uC73C\uBA70, \uC791\uD488\uC740 \uB0A8\uC544 \uC788\uC9C0 \uC54A\uC9C0\uB9CC \uBA87 \uD3B8\uC758 \uC2E4\uD5D8\uC601\uD654\uB97C \uC81C\uC791\uD588\uB2E4\uACE0 \uBC18\uBCF5\uC801\uC73C\uB85C \uC774\uC57C\uAE30 \uB418\uC5B4\uC654\uB2E4. \uC720\uD604\uBAA9 \uAC10\uB3C5\uC758 <\uC190>\uC774 \uD574\uC678 \uC601\uD654\uC81C \uCD9C\uD488\uC744 \uC704\uD574 \uC81C\uC791\uB41C \uC0AC\uC2E4\uACFC \uC774 \uC791\uD488\uC774 \uBCF5\uC6D0\uB418\uAE30 \uC804 \uD55C\uAD6D \uCD5C\uCD08\uC758 \uC2E4\uD5D8\uC601\uD654\uB85C \uAC04\uC8FC\uB418\uC5B4 \uC654\uB358 \uD55C\uAD6D\uC758 \uB300\uD45C\uC801\uC778 \uAC1C\uB150\uBBF8\uC220 \uC791\uAC00\uC778 \uAE40\uAD6C\uB9BC\uC758 <1/24\uCD08\uC758 \uC758\uBBF8>(1969)\uC758 \uACBD\uC6B0\uC5D0\uC11C \uC54C \uC218 \uC788\uB294 \uAC83\uCC98\uB7FC \uB2F9\uB300\uC758 \uC2E4\uD5D8 \uC601\uD654\uB4E4\uC774 \uC77C\uBCF8\uACFC \uC5B4\uB5A0\uD55C \uAD50\uB958\uAC00 \uC788\uC5C8\uB2E4\uAC70\uB098 \uADF8\uB4E4\uC774 \uC77C\uBCF8\uC5D0\uC11C \uC2E4\uD5D8\uC601\uD654\uB97C \uC811\uD588\uB2E4\uB294 \uD754\uC801\uC740 \uCC3E\uC744 \uC218 \uC5C6\uB2E4. \uC624\uD788\uB824 \uADF8\uB4E4\uC740 \uBBF8\uAD6D\uC774\uB098 \uC720\uB7FD\uC758 \uC544\uBC29\uAC00\uB974\uB4DC \uC601\uD654 \uC6B4\uB3D9\uC5D0 \uB300\uD574\uC11C \uC2E0\uBB38\uC774\uB098 \uC7A1\uC9C0\uB97C \uD1B5\uD574 \uAC04\uB2E8\uD55C \uC9C0\uC2DD\uC744 \uC2B5\uB4DD\uD558\uAC70\uB098 \uC720\uD604\uBAA9\uC758 \uACBD\uC6B0\uCC98\uB7FC \uB2F9\uC2DC \uC9C1\uC811 \uD574\uC678\uC758 \uC601\uD654\uC81C \uD504\uB85C\uADF8\uB7A8\uC744 \uCC38\uAD00\uD558\uB294 \uACBD\uC6B0\uB3C4 \uC788\uC5C8\uB2E4. \uB2E4\uB9CC \uB2F9\uC2DC \uB9CE\uC740 \uC6D0\uB85C \uC791\uAC00"@ko . "Cin\u00E9ma exp\u00E9rimental"@fr . . . . "Eksperimenta kinarto, a\u016D pli simple eksperimenta kino, estas tiu kiu ampleksigas a\u016D movas la limojn de la konvencia esprimaniero de la kinarto kaj \u0109efe de la rakonta kino tradicie strukturita \u0109irka\u016D historia intriga rakonto, respektante eble nur la skeleton de scenaro, uzante novajn rimedojn por esprimi kaj sentigi emociojn, espertojn, sentojn, mondorigardojn, kritikojn al la propra kinarto ktp. En multaj filmoj, la rakonto permesas vojon al eksperimentoj de tipo forma, kaj oftas la uzado de plastikaj a\u016D ritmaj rimedoj, ligite al la traktado a\u016D manipulado de la figuro a\u016D la sono. La eksperimenta kino difini\u011Das la\u016D sia etoso de aplikado kaj ricevo, \u0109ar \u011Di ne kutimas esti ligita al la kultura industrio, nek direktas sin al ampleksa publiko, sed male \u011Di estas tre specifa kaj minoritata, kaj kunhavas intereson por produktoj pritakseblaj kiel mar\u011Denaj, anka\u016D nomataj \"de kulto\". Superrealismo estas unu el la movadoj de avangardo kiu plej multe influis en la apero de la eksperimenta kino. Nuntempe \u011Di estas nepra stilo se temas pri montrado de ko\u015Dmaroj. Kelkaj famaj re\u011Disoroj kiuj almena\u016D foje dedi\u0109is sin al la eksperimenta kino estas la jenaj: Lars von Trier, Alejandro Jodorowsky, Jean-Luc Godard, Steven Soderbergh, Curtis Harrington, Andy Warhol, Peter Greenaway, Jean Cocteau, David Lynch, Gus Van Sant, Pier Paolo Pasolini kaj Luis Bu\u00F1uel, kvankam la grado la\u016D kiu ties filmoj iras a\u016D ne al la \u0109efa komerca estetiko ege diferencas."@eo . . . . . . . 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"Con i termini cinema sperimentale o film sperimentale (in inglese experimental cinema) ci si riferisce a una particolare tipologia di cinema, la cui pratica estetica viene comunemente associata a un territorio di confine fra le arti visive e il cinema; i termini \"sperimentale\" e \"cinema\" furono usati per la prima volta in relazione diretta nel 1930 dalla rivista statunitense Experimental Cinema. John Cage, che fu il primo autore a usare il termine sperimentale in musica nel 1955, sosteneva che \"un'azione sperimentale \u00E8 quella il cui risultato non \u00E8 prevedibile\" e in questo senso \u00E8 importante notare come l'assenza di sceneggiatura sia una delle caratteristiche pi\u00F9 comuni attribuite ai film inscritti in questa area. Le origini del cinema sperimentale possono essere rintracciate nel cosiddetto cinema d'avanguardia degli inizi del XX secolo. Dal 1930 al 1950 con il termine cinema sperimentale gli statunitensi si riferivano all'avanguardia cinematografica americana. Con il tempo per\u00F2 il termine cinema sperimentale, pur venendo sempre pi\u00F9 messo in discussione dagli autori e dai critici, ha assunto il valore di termine ombrello che, pur nella sua inadeguatezza e ambiguit\u00E0, comprende un'ampia gamma di stili di produzione filmica, generalmente differente o in aperta opposizione alle pratiche del cinema commerciale dominante, di fiction o documentario che sia."@it . . . . "Avantgardefilm"@de . . . . . . . "\uC2E4\uD5D8 \uC601\uD654"@ko . . . . . "Filme experimental ou cinema experimental \u00E9 um termo que abrange diversos estilos cinematogr\u00E1ficos que t\u00EAm em comum o fato de se diferenciar, e muitas vezes de se op\u00F4r, \u00E0s pr\u00E1ticas e ao estilo do cinema dito comercial ou industrial. Nos anos 1920 era mais comum o termo \"cinema de vanguarda\", por sua rela\u00E7\u00E3o com as vanguardas art\u00EDsticas do in\u00EDcio do s\u00E9culo XX, especialmente na Fran\u00E7a e Alemanha. J\u00E1 nos anos 1960, falava-se em \"cinema underground\" (que no Brasil gerou a corruptela \"udigrudi\"), como refer\u00EAncia ao movimento art\u00EDstico novaiorquino do per\u00EDodo. Hoje prevalece o termo \"cinema experimental\" pela constata\u00E7\u00E3o de que \u00E9 poss\u00EDvel realizar filmes experimentais sem a presen\u00E7a de qualquer movimento de vanguarda no campo cultural. Ainda que o termo \"experimental\" abranja um universo muito grande de pr\u00E1ticas, um \"filme experimental\" \u00E9 geralmente caracterizado pela aus\u00EAncia de narrativa linear, o uso de t\u00E9cnicas variadas de abstra\u00E7\u00E3o (fora de foco, pintura ou raspagem direta sobre a pel\u00EDcula, montagem extremamente r\u00E1pida), o uso de som n\u00E3o dieg\u00E9tico ou mesmo a aus\u00EAncia de som na trilha sonora. O objetivo, muitas vezes, \u00E9 colocar o espectador em uma rela\u00E7\u00E3o mais ativa e mais reflexiva com o filme. Pelo menos durante os anos 1960, mas tamb\u00E9m depois disso, muitos filmes experimentais tomaram uma postura de oposi\u00E7\u00E3o \u00E0 cultura dominante. Muitos destes filmes foram feitos com or\u00E7amentos muito baixos, geralmente autofinanciados ou atrav\u00E9s de pequenas subven\u00E7\u00F5es, com equipes m\u00EDnimas que muitas vezes n\u00E3o passavam do pr\u00F3prio realizador. J\u00E1 foi dito que, a partir de certo ponto, filmes experimentais deixaram de ser \"experimentais\", tornando-se de fato um novo g\u00EAnero, j\u00E1 que \u00E9 justamente o uso de alguns recursos t\u00EDpicos - tais como a forma n\u00E3o-narrativa, abordagens impressionistas ou po\u00E9ticas - que define o que geralmente se entende por \"experimental\"."@pt . . . . . . . . . . . . . . . . . . . . . "Experiment\u00E1ln\u00ED film je druh filmu, jeho\u017E po\u010D\u00E1tky sahaj\u00ED do 20. let 20. stolet\u00ED. P\u0159\u00EDklad experiment\u00E1ln\u00EDho filmu je (1926) nebo (1961-1964) Stana Brakhage. Mezi experiment\u00E1ln\u00ED re\u017Eis\u00E9ry pat\u0159\u00ED nap\u0159\u00EDklad i Andy Warhol."@cs . . . . . . . . . . . . "Zinema esperimentala zinema egiteko ohiko moldeak baztertuz egiten dena da, narratibatik aldenduz zinema arte-baliabide orokorrago moduan baliatzen duena. Zinema esperimentaleko film asko beste disziplina artistiko batzuetara loturik daude, hala nola, margolaritza, dantza, literatura, olerkigintza... edo sinpleki baliabide tekniko berrien ikerketa bat dira. Zinema esperimentaleko film batzuk komertzializatu badira ere, gehiengo ia osoak oso baliabide gutxi izaten ditu, langile oso gutxi (askotan pertsona bakarra) eta beka sistema batez edo norberaren baliabideekin ordaindu ohi dira."@eu . . . . . . . . . . . . "El cinema experimental \u00E9s un art audiovisual situat entre les arts pl\u00E0stiques i el cinema tradicional que fa servir un medi d'expressi\u00F3 art\u00EDstic tot obviant el llenguatge audiovisual convencional: trenca les barreres del cinema narratiu estrictament estructurat i utilitza nous recursos per a expressar i fer sentir emocions, experi\u00E8ncies i sentiments amb un valor est\u00E8tic i art\u00EDstic. Fa servir efectes pl\u00E0stics o r\u00EDtmics lligats al tractament de la imatge i del so, sovint fora de normes i sense obeir regles predefinides. Per tant, es tracta d'un m\u00E8tode de producci\u00F3 cinematogr\u00E0fic que modifica rigorosament les convencions f\u00EDlmiques i explora alternatives per a les formes de treball tradicionals. Moltes pel\u00B7l\u00EDcules experimentals, especialment les primerenques, es relacionen amb arts d'altres disciplines com ara la pintura, la dansa, la literatura i la poesia, i sorgeixen de la investigaci\u00F3 i el desenvolupament de nous recursos t\u00E8cnics. El cinema experimental \u00E9s un art al marge de la ind\u00FAstria i del sistema comercial que, per tant, no acostuma a estar lligat a les grans empreses ni es dirigeix a un p\u00FAblic ampli, sin\u00F3 que s'enfoca a satisfer les necessitats d'un p\u00FAblic espec\u00EDfic que comparteix, d'entrada, un inter\u00E8s per als productes que podrien ser qualificats, sense intenci\u00F3 pejorativa, com a marginals o tamb\u00E9 anomenats \u00ABde culte\u00BB. De fet, tot i que algunes pel\u00B7l\u00EDcules experimentals s'han distribu\u00EFt a trav\u00E9s de canals convencionals o fins i tot s'han realitzat en estudis comercials, la gran majoria s'han produ\u00EFt amb pressupostos molt baixos amb un equip m\u00EDnim o amb una sola persona i s'han autofinan\u00E7at o se'ls ha donat suport mitjan\u00E7ant petites subvencions. Els cineastes experimentals generalment comencen com a aficionats i alguns utilitzen les pel\u00B7l\u00EDcules experimentals com a trampol\u00ED per a fer pel\u00B7l\u00EDcules comercials o passar a posicions acad\u00E8miques. L'objectiu de films experimentals \u00E9s generalment representar la visi\u00F3 personal d'un artista o promoure l'inter\u00E8s per a les noves tecnologies, en comptes d'entretenir o generar ingressos, com \u00E9s el cas de les pel\u00B7l\u00EDcules comercials."@ca . . . . . . . . . "33536"^^ . . . . . . . . "Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources."@en . . "Unter Avantgardefilm, auch Experimentalfilm, versteht man Filme, die in ihren Motiven und in ihrer Inszenierung abseits der Konventionen des Mediums und der Sehgewohnheiten des Publikums auf avantgardistische Weise neue Ausdrucksm\u00F6glichkeiten erforschen. Bekannte deutsche Regisseure des Avantgardfilms sind zum Beispiel Rosa von Praunheim, Rainer Werner Fassbinder und Herbert Achternbusch."@de . 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"Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources. While some experimental films have been distributed through mainstream channels or even made within commercial studios, the vast majority have been produced on very low budgets with a minimal crew or a single person and are either self-financed or supported through small grants. Experimental filmmakers generally begin as amateurs, and some use experimental films as a springboard into commercial film-making or transition into academic positions. The aim of experimental filmmaking may be to render the personal vision of an artist, or to promote interest in new technology rather than to entertain or to generate revenue, as is the case with commercial films."@en . . . "\u0641\u064A\u0644\u0645 \u062A\u062C\u0631\u064A\u0628\u064A \u0623\u0648 \u0633\u064A\u0646\u0645\u0627 \u062A\u062C\u0631\u064A\u0628\u064A\u0629 \u0623\u0648 \u0633\u064A\u0646\u0645\u0627 \u0637\u0644\u064A\u0639\u064A\u0629 \u0647\u0648 \u0623\u0633\u0644\u0648\u0628 \u0641\u0646\u064A \u0641\u064A \u0635\u0646\u0627\u0639\u0629 \u0627\u0644\u0623\u0641\u0644\u0627\u0645 \u064A\u062F\u0645\u062C \u0628\u064A\u0646 \u0627\u0644\u0641\u0646\u0648\u0646 \u0627\u0644\u0628\u0635\u0631\u064A\u0629 \u0648\u0627\u0644\u0633\u064A\u0646\u0645\u0627 \u0627\u0644\u062A\u0642\u0644\u064A\u062F\u064A\u0629\u060C \u0648\u0630\u0644\u0643 \u0628\u0647\u062F\u0641 \u062A\u0642\u064A\u064A\u0645 \u0627\u0644\u0627\u062A\u0641\u0627\u0642\u064A\u0627\u062A \u0627\u0644\u0633\u064A\u0646\u0645\u0627\u0626\u064A\u0629 \u0628\u062F\u0642\u0629 \u0648\u0627\u0633\u062A\u0643\u0634\u0627\u0641 \u0627\u0644\u0623\u0634\u0643\u0627\u0644 \u063A\u064A\u0631 \u0627\u0644\u0633\u0631\u062F\u064A\u0629 \u0648\u0628\u062F\u0627\u0626\u0644 \u0627\u0644\u0631\u0648\u0627\u064A\u0629 \u0627\u0644\u062A\u0642\u0644\u064A\u062F\u064A\u0629 \u0623\u0648 \u0623\u0633\u0627\u0644\u064A\u0628 \u0627\u0644\u0639\u0645\u0644\u060C \u0641\u0647\u0648 \u0641\u0646 \u0641\u064A \u062D\u062F \u0630\u0627\u062A\u0647 \u0638\u0647\u0631 \u0645\u0646\u0630 \u0633\u0646\u0629 1920 \u0644\u0627 \u064A\u062A\u0628\u0639 \u0642\u0648\u0627\u0639\u062F \u0645\u062D\u062F\u062F\u0629 \u0633\u0644\u0641\u0627 \u0648\u064A\u0646\u0645\u0648 \u0639\u0644\u0649 \u0647\u0627\u0645\u0634 \u0635\u0646\u0627\u0639\u0629 \u0648\u0646\u0638\u0627\u0645 \u0627\u0644\u062A\u062C\u0627\u0631\u0629 \u0627\u0644\u0641\u0646\u064A\u060C \u064A\u062A\u0645\u064A\u0632 \u0641\u064A \u0643\u062B\u064A\u0631 \u0645\u0646 \u0627\u0644\u0623\u062D\u064A\u0627\u0646 \u0628\u0631\u0645\u0648\u0632\u0647 \u0627\u0644\u062A\u0639\u0628\u064A\u0631\u064A\u0629 \u0627\u0644\u062E\u0627\u0635\u0629\u060C \u0648\u0637\u0631\u0642 \u062A\u0648\u0632\u064A\u0639\u0647\u0627."@ar . . . . "Le cin\u00E9ma exp\u00E9rimental est une pratique artistique relevant \u00E0 la fois des arts plastiques et du cin\u00E9ma d'art et d'essai. C'est un art en soi, qui se d\u00E9veloppe en marge de l'industrie et du syst\u00E8me commercial. Souvent esth\u00E9tiquement hors-normes, il n'ob\u00E9it pas \u00E0 des r\u00E8gles pr\u00E9d\u00E9finies, mais promeut ses propres codes expressifs, son esth\u00E9tique et, souvent, ses modes de diffusion. Il s'est forg\u00E9, depuis les ann\u00E9es 1920, une histoire sp\u00E9cifique."@fr . . . . . . . . . . . . . . . . . . "Film eksperimental, sinema eksperimental atau sinema avant-garde adalah sebuah mode pembuatan film yang mengevaluasi ulang konvensi sinematik dan mengeksplorasi bentuk-bentuk non-naratif dan alternatif dari naratif tradisional atau metode pengerjaan. Beberapa film eksperimental, terutama yang terawal, berkaitan dengan seni rupa dalam disiplin lainnya: melukis, menari, sastra dan puisi, atau timbul dari riset dan pengembangan sumber daya teknikal baru."@in . . . "El cine experimental es un arte visual que ampl\u00EDa y desplaza los l\u00EDmites del lenguaje audiovisual y del cine narrativo convencional que tradicionalmente se hab\u00EDan estructurado alrededor de un relato argumental respetando el armaz\u00F3n del guion y que utiliza nuevos recursos para expresar y hacer sentir emociones, experiencias, sentimientos y concepciones del mundo al espectador. En muchas obras de cine experimental, por lo tanto, aquello narrativo cede ante los experimentos de tipo formal, siendo frecuente el uso de efectos pl\u00E1sticos o r\u00EDtmicos ligados al tratamiento de la imagen y el sonido. Por consiguiente, se trata de un m\u00E9todo de producci\u00F3n cinematogr\u00E1fico que modifica rigurosamente las convenciones f\u00EDlmicas y explora alternativas para las formas de trabajo tradicionales.\u200B Muchas pel\u00EDculas experimentales, especialmente las primerizas, se relacionan con artes de otras disciplinas como la pintura, la danza, la literatura y la poes\u00EDa,\u200B y surgen de la investigaci\u00F3n y del desarrollo de nuevos recursos t\u00E9cnicos.\u200B El cine experimental es un arte al margen de la industria y del sistema comercial y, por lo tanto, no acostumbra a estar relacionado con grandes empresas ni se dirige a un p\u00FAblico amplio, sino espec\u00EDfico y minoritario, y que comparte el inter\u00E9s por productos que se podr\u00EDan calificar \u2014sin intenci\u00F3n peyorativa\u2014 como marginales, o tambi\u00E9n llamados \"de culto\". De hecho, aunque algunas pel\u00EDculas experimentales se hayan distribuido a trav\u00E9s de canales convencionales o incluso se hayan realizado en estudios comerciales, la gran mayor\u00EDa se han producido con presupuestos muy bajos con un equipo m\u00EDnimo o con una sola persona y se han autofinanciado o se les ha apoyado mediante peque\u00F1as subvenciones.\u200B El objetivo de la realizaci\u00F3n de filmes experimentales es generalmente representar la visi\u00F3n personal de un artista o promover el inter\u00E9s para las nuevas tecnolog\u00EDas, en vez de entretener o generar ingresos, como es el caso de las pel\u00EDculas comerciales.\u200B"@es . . . . . . . . . . "Filme experimental"@pt . . . . . . . . "Cinema sperimentale"@it . . . . . . . . . . . . . . "\u5B9E\u9A8C\u7247\uFF08\u82F1\u8A9E\uFF1Aexperimental film\uFF09\u53C8\u7A31\u5B9E\u9A8C\u7535\u5F71\u3001\u524D\u536B\u7535\u5F71\u3001\u5148\u950B\u7535\u5F71\uFF0C\u662F\u4E00\u79CD\u7535\u5F71\u62CD\u6444\u6A21\u5F0F\uFF0C\u5B83\u4E25\u8083\u5730\u91CD\u65B0\u8BC4\u4F30\u4E86\u7535\u5F71\u60EF\u4F8B\uFF0C\u5E76\u63A2\u8BA8\u4E86\u4EE5\u975E\u53D9\u8FF0\u5F62\u5F0F\u66FF\u4EE3\u4F20\u7EDF\u53D9\u8FF0\u624B\u6CD5\u6216\u5DE5\u4F5C\u65B9\u6CD5\u3002\u8BB8\u591A\u5B9E\u9A8C\u7247\uFF0C\u5C24\u5176\u662F\u65E9\u671F\u7684\u5B9E\u9A8C\u7247\uFF0C\u90FD\u4E0E\u5176\u5B83\u827A\u672F\u5F62\u5F0F\u76F8\u5173\uFF1A\u7ED8\u753B\u3001\u821E\u8E48\u3001\u6587\u5B66\u548C\u8BD7\u6B4C\uFF0C\u6216\u8005\u7531\u7814\u7A76\u548C\u5F00\u53D1\u65B0\u6280\u672F\u8D44\u6E90\u800C\u5174\u8D77\u3002 \u867D\u7136\u6709\u4E9B\u5B9E\u9A8C\u7247\u901A\u8FC7\u4E3B\u6D41\u6E20\u9053\u53D1\u884C\uFF0C\u751A\u81F3\u6709\u4E9B\u5728\u5546\u4E1A\u5DE5\u4F5C\u5BA4\u5236\u4F5C\uFF0C\u4F46\u7EDD\u5927\u591A\u6570\u5B9E\u9A8C\u7247\u7684\u9884\u7B97\u90FD\u975E\u5E38\u4F4E\uFF0C\u5DE5\u4F5C\u4EBA\u5458\u4E5F\u975E\u5E38\u5C11\uFF0C\u751A\u81F3\u53EA\u6709\u4E00\u4E2A\u4EBA\uFF0C\u5176\u8D44\u91D1\u901A\u5E38\u81EA\u7B79\uFF0C\u6216\u7531\u5C0F\u989D\u6350\u8D60\u652F\u6301\u3002 \u5B9E\u9A8C\u7247\u5236\u4F5C\u4EBA\u901A\u5E38\u90FD\u662F\u4F5C\u4E3A\u4E1A\u4F59\u7231\u597D\u8005\u5F00\u59CB\u7684\uFF0C\u6709\u4E9B\u4EBA\u4F1A\u4EE5\u5B9E\u9A8C\u7247\u4F5C\u4E3A\u8FDB\u5165\u5546\u4E1A\u7535\u5F71\u5236\u4F5C\u7684\u8DF3\u677F\uFF0C\u6216\u901A\u8FC7\u5176\u8FC7\u6E21\u5230\u5B66\u672F\u804C\u4F4D\u3002\u5236\u4F5C\u5B9E\u9A8C\u7247\u7684\u76EE\u7684\u901A\u5E38\u662F\u4F7F\u4E2A\u4EBA\u5F62\u8C61\u66F4\u50CF\u4E00\u4E2A\u827A\u672F\u5BB6\uFF0C\u6216\u8005\u4FC3\u8FDB\u5BF9\u65B0\u6280\u672F\u7684\u5174\u8DA3\uFF0C\u800C\u4E0D\u662F\u50CF\u5546\u4E1A\u7535\u5F71\u90A3\u6837\u4E3A\u4E86\u5A31\u4E50\u6216\u8D5A\u94B1\u3002"@zh . . . "Cine experimental"@es . "\u5B9E\u9A8C\u7247"@zh . . . . "Filme experimental ou cinema experimental \u00E9 um termo que abrange diversos estilos cinematogr\u00E1ficos que t\u00EAm em comum o fato de se diferenciar, e muitas vezes de se op\u00F4r, \u00E0s pr\u00E1ticas e ao estilo do cinema dito comercial ou industrial. Nos anos 1920 era mais comum o termo \"cinema de vanguarda\", por sua rela\u00E7\u00E3o com as vanguardas art\u00EDsticas do in\u00EDcio do s\u00E9culo XX, especialmente na Fran\u00E7a e Alemanha. J\u00E1 nos anos 1960, falava-se em \"cinema underground\" (que no Brasil gerou a corruptela \"udigrudi\"), como refer\u00EAncia ao movimento art\u00EDstico novaiorquino do per\u00EDodo. Hoje prevalece o termo \"cinema experimental\" pela constata\u00E7\u00E3o de que \u00E9 poss\u00EDvel realizar filmes experimentais sem a presen\u00E7a de qualquer movimento de vanguarda no campo cultural."@pt . . . . . . . . . . . . . . . . . "\u5B9F\u9A13\u6620\u753B \u5B9F\u9A13\u6620\u753B\u3068\u306F\u9020\u5F62\u82B8\u8853\u3084\u4F1D\u7D71\u7684\u6620\u753B\u306A\u3069\u304B\u3089\u7ACB\u3061\u73FE\u308C\u305F\u4E00\u3064\u306E\u82B8\u8853\u7684\u5B9F\u8DF5\u3067\u3042\u308A\u3001\u8868\u73FE\u306B\u304A\u3051\u308B\u5B9F\u9A13\u3092\u8A66\u307F\u305F\u6620\u753B\u3067\u3042\u308B\u3002\u305D\u306E\u591A\u304F\u306F\u5546\u696D\u7684\u306A\u6210\u529F\u3092\u7B2C\u4E00\u306E\u76EE\u7684\u3068\u305B\u305A\u3001\u307E\u305F\u591A\u304F\u306F\u500B\u4EBA\u306E\u4F5C\u5BB6\u306B\u3088\u3063\u3066\u4F5C\u3089\u308C\u308B\u3002 \u5B9F\u9A13\u6620\u753B\u3068\u547C\u3070\u308C\u308B\u4F5C\u54C1\u306E\u7A2E\u985E\u306F\u5E45\u5E83\u304F\u3001\u7269\u8A9E\u3092\u5B9F\u9A13\u7684\u306B\u8868\u73FE\u3057\u305F\u4F5C\u54C1\u3001\u4F5C\u5BB6\u500B\u4EBA\u306E\u65E5\u5E38\u3092\u64AE\u5F71\u3057\u305F\u65E5\u8A18\u7684\u306A\u4F5C\u54C1\u3001\u62BD\u8C61\u7684\u306A\u30A2\u30CB\u30E1\u30FC\u30B7\u30E7\u30F3\u4F5C\u54C1\u3001\u30C9\u30AD\u30E5\u30E1\u30F3\u30BF\u30EA\u30FC\u3001\u30D5\u30EA\u30C3\u30AB\u30FC\u6620\u753B\u3068\u547C\u3070\u308C\u308B\u4F5C\u54C1\u3092\u542B\u3080\u3001\u6620\u50CF\u306E\u8996\u899A\u52B9\u679C\u3092\u5B9F\u9A13\u3057\u305F\u4F5C\u54C1\u3001\u307E\u305F\u30D5\u30A1\u30A6\u30F3\u30C9\u30FB\u30D5\u30C3\u30C6\u30FC\u30B8\u3068\u8A00\u308F\u308C\u308B\u3001\u4ED6\u306E\u4F5C\u5BB6\u306B\u3088\u3063\u3066\u5236\u4F5C\u3055\u308C\u305F\u6620\u50CF\u4F5C\u54C1\u3092\u6D41\u7528\u30FB\u8EE2\u7528\u3057\u305F\u4F5C\u54C1\u306A\u3069\u304C\u3042\u308B\u3002\u3055\u3089\u306B\u3001\uFF08\u30A8\u30AF\u30B9\u30D1\u30F3\u30C7\u30C3\u30C9\u30FB\u30B7\u30CD\u30DE\uFF09\u3068\u547C\u3070\u308C\u308B\u3001\u8907\u6570\u306E\u6620\u5199\u6A5F\u3092\u4F7F\u3063\u3066\u4E0A\u6620\u3059\u308B\u4F5C\u54C1\u3001\u30EB\u30FC\u30D7\u3055\u308C\u305F\u6620\u50CF\u306A\u3069\u306B\u3088\u308B\u30A4\u30F3\u30B9\u30BF\u30EC\u30FC\u30B7\u30E7\u30F3\u4F5C\u54C1\u3001\u307E\u305F\u4E0A\u6620\u4E2D\u306B\u6620\u50CF\u30FB\u97F3\u58F0\u3092\u52A0\u5DE5\u30FB\u7DE8\u96C6\u3059\u308B\u30D1\u30D5\u30A9\u30FC\u30DE\u30F3\u30B9\u7684\u306A\u4F5C\u54C1\u304C\u3042\u308B\u3002"@ja . . . . . "El cinema experimental \u00E9s un art audiovisual situat entre les arts pl\u00E0stiques i el cinema tradicional que fa servir un medi d'expressi\u00F3 art\u00EDstic tot obviant el llenguatge audiovisual convencional: trenca les barreres del cinema narratiu estrictament estructurat i utilitza nous recursos per a expressar i fer sentir emocions, experi\u00E8ncies i sentiments amb un valor est\u00E8tic i art\u00EDstic. Fa servir efectes pl\u00E0stics o r\u00EDtmics lligats al tractament de la imatge i del so, sovint fora de normes i sense obeir regles predefinides. Per tant, es tracta d'un m\u00E8tode de producci\u00F3 cinematogr\u00E0fic que modifica rigorosament les convencions f\u00EDlmiques i explora alternatives per a les formes de treball tradicionals. Moltes pel\u00B7l\u00EDcules experimentals, especialment les primerenques, es relacionen amb arts d'altres di"@ca . . "Unter Avantgardefilm, auch Experimentalfilm, versteht man Filme, die in ihren Motiven und in ihrer Inszenierung abseits der Konventionen des Mediums und der Sehgewohnheiten des Publikums auf avantgardistische Weise neue Ausdrucksm\u00F6glichkeiten erforschen. Das Experiment, als Versuch mit offenem Ausgang verstanden, bedeutet im Film (wie auch in anderen K\u00FCnsten) ein Abgehen von \u00FCblichen \u2013 hier in erster Linie kommerziellen \u2013 Erwartungen. Das betrifft Inhaltliches \u2013 wie etwa im Surrealismus \u2013 und die Filmtechnik mit ihren M\u00F6glichkeiten, etwa der Abstraktion, durch Schnitt, Kamerabewegung, Doppelbelichtung etc. Auch wenn die Techniken des Films spezifische sind, entwickelte sich der Experimentalfilm doch in enger Beziehung zur bildenden Kunst, vor allem deshalb, weil diese treibende Kraft k\u00FCnstlerischer Entwicklungen war und durch ihren Marktwert mehr wahrgenommen wurde als der Experimentalfilm, der um eine \u00D6ffentlichkeit stets k\u00E4mpfen musste. Das begann sich erst in den 1990er Jahren zu \u00E4ndern, als der Film insgesamt sp\u00E4t, aber dennoch als gleichwertiges k\u00FCnstlerisches Medium wahrgenommen wurde und durch neue Techniken (Video, DVD) Einzug in die Museen und Galerien fand. Die Position des Nicht-Kommerziellen erlaubte dem Experimentalfilm nicht nur, mit seinen filmischen M\u00F6glichkeiten zu experimentieren \u2013 was ja auch in k\u00FCnstlerisch anspruchsvollen Spiel- und Dokumentarfilmen geschah und ebenso genannt wurde \u2013, sondern als Avantgarde- oder Undergroundfilm neue Bereiche gesellschaftlicher Wahrnehmung zu erschlie\u00DFen, was durch Tabubr\u00FCche in der filmischen Wiedergabe von Sexualit\u00E4t und Religion zu zahlreichen Skandalen f\u00FChrte, so etwa geschehen bei Un chien andalou von Luis Bu\u00F1uel und Salvador Dal\u00ED, Un chant d\u2019amour von Jean Genet oder bei etlichen Werken des New American Cinema und des \u00F6sterreichischen Films der 1960er Jahre. 2013 entstand das Filmexperiment \u201EH\u00E4ppchenweise\u201C als Deb\u00FCt der Regisseurin und Kunsthistorikerin Maike Brochhaus. Der Anspruch der Avantgarde schloss den Wunsch nach Verbreitung der Filme nicht aus \u2013 im Gegenteil: Ihr dienten nach dem Krieg das von der Belgischen Cinemathek in Br\u00FCssel und Knokke in Abst\u00E4nden von vier Jahren veranstaltete Experimentalfilmfestival, die von den Filmemachern in den 1960er Jahren veranstalteten Filmschauen in M\u00FCnchen und Hamburg und vor allem ihr Zusammenschluss zu Kooperativen nach dem Vorbild der Amerikaner in London, Wien und Hamburg und schlie\u00DFlich die Gr\u00FCndung von Filmverleihen in Paris, Wien (Sixpackfilm) und Osnabr\u00FCck, mehr oder weniger nach amerikanischem Vorbild (New York Film-makers\u2019 Cooperative, Canyon Cinema). Bekannte deutsche Regisseure des Avantgardfilms sind zum Beispiel Rosa von Praunheim, Rainer Werner Fassbinder und Herbert Achternbusch."@de . . . . . . . . . . "Zinema esperimentala zinema egiteko ohiko moldeak baztertuz egiten dena da, narratibatik aldenduz zinema arte-baliabide orokorrago moduan baliatzen duena. Zinema esperimentaleko film asko beste disziplina artistiko batzuetara loturik daude, hala nola, margolaritza, dantza, literatura, olerkigintza... edo sinpleki baliabide tekniko berrien ikerketa bat dira. Zinema esperimentaleko film batzuk komertzializatu badira ere, gehiengo ia osoak oso baliabide gutxi izaten ditu, langile oso gutxi (askotan pertsona bakarra) eta beka sistema batez edo norberaren baliabideekin ordaindu ohi dira. Zinema esperimentalaren helburuetako bat zinemagilearen arte ikuspegia ematea da, edo teknologia berri batek eman ditzakeen emaitzak aztertzea. Horegatik, zinema esperimentalak ez du helburu komertzialik izaten."@eu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1056084"^^ . "Le cin\u00E9ma exp\u00E9rimental est une pratique artistique relevant \u00E0 la fois des arts plastiques et du cin\u00E9ma d'art et d'essai. C'est un art en soi, qui se d\u00E9veloppe en marge de l'industrie et du syst\u00E8me commercial. Souvent esth\u00E9tiquement hors-normes, il n'ob\u00E9it pas \u00E0 des r\u00E8gles pr\u00E9d\u00E9finies, mais promeut ses propres codes expressifs, son esth\u00E9tique et, souvent, ses modes de diffusion. Il s'est forg\u00E9, depuis les ann\u00E9es 1920, une histoire sp\u00E9cifique."@fr . . "\u0415\u043A\u0441\u043F\u0435\u0440\u0438\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u0438\u0439 \u0444\u0456\u043B\u044C\u043C"@uk . . . . . . . . "Film eksperimental"@in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Eksperimenta kinarto, a\u016D pli simple eksperimenta kino, estas tiu kiu ampleksigas a\u016D movas la limojn de la konvencia esprimaniero de la kinarto kaj \u0109efe de la rakonta kino tradicie strukturita \u0109irka\u016D historia intriga rakonto, respektante eble nur la skeleton de scenaro, uzante novajn rimedojn por esprimi kaj sentigi emociojn, espertojn, sentojn, mondorigardojn, kritikojn al la propra kinarto ktp. En multaj filmoj, la rakonto permesas vojon al eksperimentoj de tipo forma, kaj oftas la uzado de plastikaj a\u016D ritmaj rimedoj, ligite al la traktado a\u016D manipulado de la figuro a\u016D la sono."@eo . . . . . . . .