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ISBN-10: 9042023058

ISBN-13: 9789042023055

This quantity on avant-garde movie has emerged as a part of a much wider reassessment of twentieth century avant-garde paintings, literature and movie conducted within the framework of a study venture on the college of Edinburgh. It paves the way in which for a clean evaluate of avant-garde movie and develops its concept as an essential component of a newly outlined belief of the avant-garde as a complete, by means of last the space among theoretical techniques in the direction of the avant-garde as outlined at the foundation of artwork and literature at the one hand and avant-garde cinema at the different. It gathers contributions via the main esteemed students within the box of avant-garde stories with regards to the żclassicalż avant-garde cinema of the Twenties, to new traits rising within the Fifties and Nineteen Sixties and to the impression that cutting edge applied sciences have lately had at the additional improvement of avant-garde and experimental movie. The contributions mirror the extensive variety of alternative moving-image media that make up what we discuss with this day easily as żfilmż, even as reconsidering the applicability of the label żavant-gardeż, to provide a finished and up-to-date framework that may turn out worthy to students of either relocating snapshot reviews and artwork background disciplines.

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Expressionist values had dominated German Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film 33 art for two decades, and, although Richter’s early drawings were influenced by such German Expressionists as Ernst Ludwig Kirchner, he, and Eggeling too, had come to see Expressionism as a dimension of the culture that should be opposed. Excessive feeling, and especially feeling that was not contained within the bounds of formal, constructive imperatives, could deform art, just as unbridled feeling, feeling that was not contained by the ideals of the Socialist utopia, could wreak havoc on society.

Even so, color was among Richter’s central concerns at this time – the importance Richter accorded color is made evident by the fact that in the same year he made the film, Richter produced Orchestration der Farbe (Orchestration of Color), an “orchestration of colour in complementary, contrasting, and analogue colours, as a Magna Carta for colours” and another work, Farbenordnung (Color Order), a work that was included in the notorious Entartete Kunst exhibition and likely destroyed thereafter.

Eggeling was a brilliant theoretician and artist whose intensity deeply affected those with whom he came into contact. Hans Arp described meeting Viking Eggeling: Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film 25 I met him again in 1917 in Zürich. He was searching for the rules of a plastic counterpoint, composing and drawing its first elements. He tormented himself almost to death. On great rolls of paper he had set down a sort of hieratic writing with the help of figures of rare proportion and beauty.

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