354:), was founded in 2001 by Karel Doing, Anna Abrahams, Peter Van Hoof and others. The Filmmuseum conserves experimental films in the framework of the 'Collectie Nederland van de Experimentele Film' project, this was followed by a Filmbank tour which included films by Barbara Meter, Henri Plaat and Frans Zwartjes. Plaat refers to his films as 'incantations', Meter refers to a
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Screening opportunities arose for a new generation of filmmakers thanks to the founding of Cinema De Balie in 1996, the professionalisation of the
Nederlands Instituut voor Mediakunst and the Mind The Gap evenings at De Unie in Rotterdam. During the 1990s new initiatives, such as Studio EĂ©n in Arnhem
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In the preceding years, experimental film seemed to be overshadowed by video art, but during the early years of the 21st century, it once again attracted attention, particularly from artists. (source: mm2) De
Filmbank, which inventories, presents and distributes contemporary Dutch experimental film
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Rotterdam gained another screening venue with the Worm, while the
Rotterdamse Filmwerkplaats organises workshops for filmmakers. The Filmmuseum also conserved another selection of the Dutch experimental heritage and this was screened at the festival Filmmuseum Experimenteel in 2008.
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where he became an influential mentor to an entire generation of artists such as Jan
Ketelaars, Gijs Schneemann, Matthijs Blonk, George Schouten and Ruud Monster, who constituted the so-called âHaagse Psychopolis schoolâ. Zwartjes formulated his method as follows:
287:. And the Impakt Festival was founded in 1988. In their work, conceptual artists such as Dibbets, Van Elk, Boezem, Struycken and the Columbian Raoul Marroquin who resided in the Netherlands, experimented with video. Other important filmmakers from the 1980s were
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in 1972. From 1985 to 1995, the AVĂ festival was organised in Arnhem, which later morphed into the Hard Kijken festival. The World Wide
Videofestival took place for the first time in 1982. Two years later the exhibition The Illuminous Light was organised at the
291:, Noud Heerkens, Gerard Holthuis, Ruud Monster, Frederieke Jochems and Andras Hamelberg, Pieter Moleveld and Barbara Meter, who started working again after a 10-year break. The Kunstkanaal â a weekly video art show on cable TV in Amsterdam,
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lost ground and were replaced by films with a critical subtext. Together with Willum
Thijssen and Paul de Mol, Peter Rubin founded Holland Experimental Film (HEF) the principal goal of which was to screen Dutch experimental films abroad.
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and E. du Perron's embraced free film art, paying particular attention to the editing, rhythm and composition of films. The
Filmliga movement includes the Soviet avant-garde inspired documentaries of
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The epicentre of experimental film up until 1974 was the
Electric Cinema, run by STOFF employees Barbara Meter, Mattijn Seip, Nico Paape and Jos Schoffelen. Barbara Meter on those turbulent times:
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The 1960s saw the rise of a group of young filmmakers who had been trained at the
Nederlandse Filmacademie which was founded in 1958. This new generation, led by Wim Verstappen, Pim de la Parra,
157:
57:
387:
Abrahams/Graveland/Van âHart/Van Hoof (ed.), (2004), 'mm2, Experimentele Film in
Nederland sinds 1960', Amsterdam: Filmbank/Uitgeverij De Balie, pp 7â9
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Visual artists who used the medium film constituted a relatively independent development within experimental film in the 1960s. The work of
210:, saw themselves as revolutionaries and wanted to give the staid film world a rude awakening. In this respect they were aligned with the
308:, primarily focused on the production of 8 mm or 16 mm, low-budget films. During the 1990s, filmmakers such as Joost Rekveld,
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that drops a single petal at the very end, for their sad movie 'Tulips' (1966). 1967 saw the founding of The New Electric Cinema in
75:
229:, who lived in the Netherlands, attracted attention from the early 1960s onwards and from the end of that decade, he was joined by
99:. They step back and reflect. Simultaneously, they take forward leaps to assess new options. Sometimes the makers are self-taught
152:
127:, the scientific films of J.C. Mol (who evoked an aesthetic, abstract world with his 'Het rijk der kristallen') and the work of
151:('The Cuckoo Waltz (Koekoekswals)'), international avant-garde film underwent a renaissance in 1949 with the foundation of the
396:
Linssen, CĂ©line, 'Het gaat om de film' (1999), Amsterdam Bas Lubberhuizen/Nederlands Filmmuseum/Voorhuis, Nelly, mm2, pp 30
328:. Joost Rekveld had the following to say about his light films that are all made without a camera and are all named after
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dates back to the 1920s. 1927 saw the publication of a manifesto for the founding of the Filmliga. The movement's leaders
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primarily play with the medium film and seek an alternative to the dominant visual culture.
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304:(later De Werkplaats in Rotterdam), the Filmstad foundation in The Hague and Lazy Marie in
198:âI don't tell them anything. They have to work it out for themselves. There are no rules.â
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After a lull during the 1930s and 1940s, primarily a time of playful, poetic films by
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garnered attention. The decade also saw a resurgence of experimental animation and
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336:âTo me, maths is not a cult of numbers and abstractions. It is very concrete.â
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320:, Francien van Everdingen, Lonnie van Brummelen, Jan Willem van Dam and
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who make innovative work thanks to their original point of view. Other
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in all sorts of ways (through rental, entries to Dutch and foreign
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In 1970, Frans Zwartjes started teaching at the Vrije Academie in
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The Netherlands Media Art Institute, Montevideo/Time Based Arts:
178:, which organised happenings involving music concrete made with
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166:('Lucebert, dichter-schilder', 1962) and Wim van der Linden/
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366:âThe only useful answer to the crap around you is art.â
162:. Later editions of the festival would screen films by
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Review of MM2: Experimental Film in the Netherlands
358:âproposal to experience time and space differentlyâ
91:ask whether things could not be done differently.
274:was the âSonsbeek buiten de perkenâ festival in
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266:This decade is known as the golden age of
153:Knokke-Le-Zoute Experimental Film Festival
76:Learn how and when to remove this message
521:International Film Festival Rotterdam:
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115:The history of Dutch experimental or
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295:and The Hague, was founded in 1987.
95:analyse and critique the mainstream
270:. The latter's breakthrough in the
170:, who filmed a motionless bunch of
253:. In the 1970s, movements such as
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135:, Willem Bon and Mannus Franken.
559:www.filmfund.nl/ontwikkeling_o_o
511:experimentele.filminnederland.nl
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147:('Spiegel van Nederland') and
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523:www.filmfestivalrotterdam.com
214:and the Neue Deutsche Film.
51:. The specific problem is:
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545:Nederlands Film Festival:
53:reads a bit like an essay.
47:to meet Knowledge (XXG)'s
592:Cinema of the Netherlands
565:www.smartprojectspace.net
541:www.mediaartfriesland.nl
89:Experimental filmmakers
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245:, Marinus van Boezem,
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563:Smart Project Space:
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204:Nikolai van der Heyde
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164:Johan van der Keuken
149:Emiel van Moerkerken
58:improve this article
547:www.filmfestival.nl
362:and Zwartjes says:
350:, publications and
341:2000 to the present
529:www.kunstkanaal.nl
432:"mm2 / Filmmuseum"
255:structuralist film
231:conceptual artists
597:Experimental film
505:www.filmbanktv.nl
485:Cinema De Balie:
457:"www.filmbank.nl"
208:Adriaan Ditvoorst
93:Underground films
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49:quality standards
40:This article may
16:(Redirected from
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348:film festivals
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375:References
186:material.
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318:Jop Horst
299:The 1990s
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66:May 2022
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569:Worm:
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172:tulips
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352:DVDs
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