This paper presents results of an in-depth research and analysis of female experimental filmmakers and their work. For an aspiring female filmmaker, it is important to know what are the components of a new visual language these film makers created, and how these changes are reflected in their work . This research leans heavily on Laura Mulvey' s essay 'Visual pleasure and narrative cinema', in order to determine just what it is that was so strictly shaped in conventional narrative cinema, and how experimental film making allowed women to explore and break the conventions of a coded visual language and narration which were rooted within the viewer. Further analysis of films by Maya Deren, Vera Chytilova, Shirley Clarke, Chantal Akerman, and feminist film theories by Claire Johnson will serve as a pointer of how women used the medium of experimental filmmaking to explore many issues, which could not have been represented in a classical narrative film. Furthermore, we will emphasize how these experimental film makers made it possible for a presence of female film makers in the Hollywood film market today. On the other side, we will analyze the presence of leading female characters in Hollywood narrative films, and aspects of feminist film theories which can be applied in these examples, in order to examine if these theories are exclusive for female experimental filmmakers or not. Overall , this paper will argue that experimental filmmaking is the essential element which provided woman to integrate alternative forms, and manipulate techniques of filming and editing in order to create a counter cinema, which represents an alternative model to traditional Hollywood film making.
Key words : experimental film , feminism , spectators gaze, woman's cinema