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This quantity on avant-garde movie has emerged as a part of a much broader reassessment of twentieth century avant-garde paintings, literature and picture performed within the framework of a learn venture on the college of Edinburgh. It paves the way in which for a clean evaluation of avant-garde movie and develops its concept as a vital part of a newly outlined perception of the avant-garde as an entire, by way of last the space among theoretical methods 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 by means of the main esteemed students within the box of avant-garde stories in terms of the żclassicalż avant-garde cinema of the Twenties, to new developments rising within the Nineteen Fifties and Nineteen Sixties and to the effect that leading edge applied sciences have lately had at the additional improvement of avant-garde and experimental movie. The contributions replicate the wide diversity of alternative moving-image media that make up what we confer with at the present time easily as żfilmż, whilst reconsidering the applicability of the label żavant-gardeż, to supply a accomplished and up-to-date framework that would end up beneficial to students of either relocating photo stories and artwork background disciplines.

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By limiting his elements to forms belonging to this set, by avoiding representation, and by working only with neutrals, Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film 37 Eggeling strove to discover the means to preserve the purity of the message transmitted to the viewer. Richter maintained similar beliefs. In his essay ‘Prinzipielles zur Bewegungskunst’ Richter set out the following precepts concerning the essential attributes of art: Art is a human language that requires definite elements as an ‘alphabet’; it consists of an abstract ‘form-language’ (Form-Sprache) through which the pure relations that forms bear to each other can be investigated; it is not the identifying characteristics of the natural objects that are of interest, but the pure material of artistic forms; a composition arises dialectically, as a constructive process based on polarities that evoke tension and release; a work of art contains relations based on contrast, which are visible, and relations based on analogy, which can be experienced only spiritually; a work of art strives for a synthetic solution of rhythmic unification (rhythmische Einheitlichkeit).

In their films where movement of light is presented in square forms, Eggeling’s disciple and former collaborator, Hans Richter, and also Werner Graeff, have followed the principles formulated by Eggeling concerning polarity and analogy, and the influence exerted by these two concepts on each other. (As cited in O’Konor 1966: 27-8) Richter had offered a theory of form-building to the enterprise of applying the principles of music to filmmaking. Artworks should evoke feeling through form, he proposed: through its form, an artwork elicits and resolves tension.

The old artistic forms were no longer capable of this. The most important task that artists confronted, therefore, was to create a new, universal language that all would be capable of understanding, a language not burdened with outmoded associations carried forward from a civilization in its phase of decadence and encumbered by national differences. Its idiom would be pure, simple, and abstract, for only non-figurative art could do what is essential: to revive culture by creating a new instrument with which all people could communicate.

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