Experimental Memoir in Cinema
///Presenting by Hesam Amiri
Session One: Jonas Mekas (godfather of American avant-garde cinema) + Screening the last interview of Mekas (Last interview with Jonas Mekas by Chihiro Ito)
Bidar School for Art and Literature, November 10, 2019

Cinematic depiction of memory from the onset of cinema has been an interesting subject to filmmakers. Yet, most of the existing movies, mainly made by cinematographers, directors, camera owners, businessmen and in some cases by kings, failed to surpass chronological documentary recording of events. Archie Stewart in 1920s for the first time decided to shoot ordinary moments of his personal life with an amateur camera.
During the process of self – filming, he came to conclusion that with cinematic predetermined rules and formulas, nowness of the moment cannot be documented. And therefore, he left an important principle to his latter filmmakers; In order to document simplest forms of ordinary daily life, while keeping more quality and uniqueness to it, we need the most creative visual styles.
Consequently, from the scratch, filming of daily memories got interlinked with some form of experimental cinema. With a marginal, independent, pioneer, underground, creative, non-mainstream and avant-garde cinema, which in novel and various ways attempts to preserve the most ordinary, yet deepest emotions pertaining to everyday life.

Our parents might have been the last generation who has no recorded motion pictures from their childhood or youth. They represent a generation in which memory was kept by words instead of images.
But today, thanks to prevalence of cameras, anyone is able to document their memories in the form of images. Every person has a life, every life has a memory and in our time each memory has an image. “Document your life memories.” We have presumably heard this statement in mobile phones and cameras ads. But is it that simple to document memories of one-self’s life? Can each film record memories of a unique moment that is gone in itself?