(3) The manipulation and function of sound in avant-garde film has undergone little analytical study whereas much critical readings have been undertaken regarding the conventional use of music in Hollywood cinema. MacDonald remarks that we can only experience the manipulation of images and sound in avant-garde films as “alternative” to commercial cinema because of the conventionalized context we viewers have already developed. The role of music and soundtrack in avant-garde films is significantly in contrast with the place of music in Hollywood films. The fact that this type of film-making remains the “most marginal and least understood” (2) means that we must resort to Hollywood and its commercial films as a critical yardstick for analysing avant-garde film. In the two sentences above, Scott MacDonald sets up for us the realistic situation we are faced with when contemplating an analysis of films outside of mainstream classical cinema.
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In fact, by the time most people see their first avant-garde film, they have already seen hundreds of films in commercial theatres and on television, and their sense of what a movie is has been almost indelibly imprinted in their conscious and unconscious minds (1) No one – or certainly, almost no one – sees avant-garde films without first having seen mass-market commercial films.
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