Unseen Cinema: Light Rhythms, Music and Abstraction
Early American avant-garde cinema from 1894-1941. The rhythmic elements of cinema are explored by artists and filmmakers fascinated by the abstract qualities of light. The American authors of avant-garde classics Le Retour á la raison (1923), Ballet mécanique (1923-24), Anémic cinéma (1926), and Une...
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| Institution: | Open Society Archives at Central European University |
| Language: | English |
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Anthology Film Archives
United States |
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| Online Access: | http://hdl.handle.net/10891/osa:501f0ab7-0722-41f4-87aa-3f2efcdb32db |
| Summary: | Early American avant-garde cinema from 1894-1941. The rhythmic elements of cinema are explored by artists and filmmakers fascinated by the abstract qualities of light. The American authors of avant-garde classics Le Retour á la raison (1923), Ballet mécanique (1923-24), Anémic cinéma (1926), and Une Nuit sur le Mont Chauve (1934), are finally acknowledged for their seminal artistic achievements made in Europe. Pioneer abstract films by Ralph Steiner, Mary Ellen Bute, Douglass Crockwell, Dwinnell Grant, and George Morris are compared and contrasted with Hollywood montages created by Ernst Lubitsch, Slavko Vorkapich, and Busby Berkeley. For the first time on video, composer George Antheil's original 1924 score accompanies Fernand Léger and Dudley Murphy's film Ballet mécanique, a truly avant-garde cacophony of image and sound. |
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