From times immemorial, man has enjoyed the horse in all manners, as art object, speed racer, cart-puller, and circus acts. Cars are taking the horses' place in transportation, and these are... See full summary »
A dance of shapes. A title card tells us this is an experiment in conveying the mental images of music in a visual form. Liszt's "Second Hungarian Rhapsody" is the music. The shapes, all ... See full summary »
A pulsing, kaleidoscope of images set to an energetic soundtrack. A young women swings in a garden; a woman's face smiles. The rest is spinning cylinders, pistons, gears and turbines, ... See full summary »
A nude couple pose in an art studio on a square rug, while the camera does a circular traveling around them; the woman has her right knee on the floor and her right arm raised in front of ... See full summary »
A Whirlwind Single-Frame Trip from Munich to Berlin
In 1927 Oskar Fischinger set out from Munich to Berlin on foot, traveling like many Europeans did before private ownership of automobiles became common. Only this time he took his motion picture camera with him, using it like a still camera, taking still frames and the occasional short shot along the way. When projected, this becomes a dazzling montage of the German countryside and people with a constantly tumbling-forward perspective, preserving many scenes and locations later obliterated by the Second World War. While München-Berlin Wanderung was not the first film of its kind -- Frederick S. Armitage and A. E. Weed's Down the Hudson (1903) was likely that -- it is freewheeling, deliberately artistic and experimental in spirit, closer to the single-frame films made decades later by Kurt Kren than it is to anything else made in 1920s Europe.
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