To create a vision of the harmony of the unequal, balance the infinite variety, the chaotic, the contradictions in a unity.
Hans Richter is renowned as the godfather of avant garde film
Three excerpts from a new film about his work Everything Turns - Everything Revolves
Richter taught at City College New York
in the 40's and 50's after fleeing Europe.
To further explain the first show of his work in the USA since 1968 (which finishes shortly) LACMA has made this short: -
Hans Richter's Germany
about where he lived between Art and Politics
Some of his film has already featured in a couple of great posts on the blue Previously
Richter at Senses of Cinema
, Activism, Modernism and the Avant-garde (pdf
) and in his own words
. [more inside]
has been called The High Priestess of Experimental Cinema
Probably her greatest work was Meshes of the Afternoon
a 13min. silent movie made in 1943.
Here is a review
and some stills and clips from her work
The music is by Teiji Ito
who later became her third husband. (See also
Maya Deren was one of the influences
on David Lynch.
La Petite Mélancolie
Is mainly a French photo blog which has plenty of excellent timesink in it.
From Hannah Hoch
to Romy Schneider
and from Edward Steichen
to Jorge Caceres
It is difficult to describe this site which sometimes verges on the pornographic
but also has many pages on surrealists such as Paul Eluard
and Jacques Prevert
as well as other avant garde people such as the Czechs Karel Tiege
and Milan Kundra
The Smiling Madame Beudet
made in 1922 is generally regarded by scholars and theorists as history's premier "feminist film
Germaine Dulac (wiki
) was a central figure in 1920's French avant-garde cinema, and its only woman director. A filmmaker with her own production company who worked in narrative, avant-garde, and documentary genres, Dulac was also an active feminist, critic, and a prolific writer who wrote some of the earliest treatises on avant-garde film.
Later she made what was considerered one of the first surrealist films: The Seashell and the Clergyman
(1928) from an original scenario by Antonin Artaud who later denounced it.
This resulted in a letter to La Nouvelle Revue Française, because the journal had omitted to mention her as the “author” stating that
the intellectuals and the filmmakers should develop a closer kinship to one another, for it is only nuances between words that irremediably keep them apart.