The early nineteen sixties were a boom period for avant garde film makers. Not only was equipment becoming more affordable and portable, the conventions (and cliches) of the avant garde were not yet fully established, making it a fertile and open period for experimentation.
In 1963's Sretanje (Encounter) (1963), young Croatian amateur Vladimir Petek gives us a series of shots of a young woman, with the film variously scratched, punctured, drawn on, pixelated, polarised, solarised, cut in half and glued back together in post production to provide a discombobulating and visually rich breaking down of what film can - and is supposed to - do.
Thanks to Jörg for the tip off - and all the other pointers.
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