A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The ... See full summary »
A spiral design spins dizzily. It's replaced by a spinning disk. These two continue in perfect alternation until the end: a spiral design, a disk. Each disk is labelled and can be read as ... See full summary »
Against a dark background, several bright, curved or rounded shapes pulse towards the center of the screen, one at a time. They are followed by many other shapes, some irregular, some ... See full summary »
A man is supine on a mountain side. Images rush past of nature and a stained glass saint. An infant is born. We see a lactating nipple. Images include a mountain peak, farm buildings, a ... See full summary »
A long series of unrelated images, revolving, often distorted: lights, flowers, nails. A lightboard appears from time to time carrying the news of the day. Then, an eye. A woman in a car ... See full summary »
Black and white rectangular images fade in and out of the screen. Their movement make them sometimes look like they're panning from side to side. Their movement also make the black and ... See full summary »
This film uses stop motion animation of still photographs to convey images of politics and science in the nuclear era. The advancement of science allows man to do things he never would have... See full summary »
A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The figure vanishes and the process begins again with a new pattern, each cycle lasting one or two seconds. The complete figures are drawn in a vaguely Art Deco style and could be said to resemble any number of things, an ear, a harp, panpipes, a grand piano with trombones, and so on, only highly stylized. The tone is playful and hypnotic. Written by
With this movie, Eggeling found a new way of artistic expression that was followed later by Hans Richter, Oskar Fishinger, Walter Ruttmann and Norman McLaren.
Eggeling was trying to explore new paths, new manners, and he really did it. This new media, cinema, brought something that painters such as Eggeling himself could never reach with their paintings: time. Including a new dimension in their artwork was something very challenging for them. It was like mobile paintings. And this is exactly what Eggeling built up in this Symphonie Diagonale.
Eggeling uses *only* images (some geometrical animation) to make music! Yes!, that's it! I know it sound rare but he did it! Just try to imagine how, without any sound, just by showing us moving drawings, Eggeling makes us feel rhythm, musical patterns and figures. I would say that, even if the viewer is not a musical expert, he/she will surely discover, at least, the basics of music (rhythm, for instance).
Eggeling's masterpiece is a trip into music, a magical illusion and a sensible picture of music through a different language. Something nobody should miss.
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