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After such important movements like Dada and Surrealism in France, in German, we had “graphic cinema, know as absolute cinema” (Avant-Garde Film – Forms, Themes, and Passions, Short Cuts). Differs from the previous movements (a part of the origin of Dada or Surrealism rised from the consequence of historical events), abstract films had strong connection with the arts: painting and music. These were two most crucial elements which created the core ideal of abstraction in films in 1920s. Moreover, the idea about “film becomes film” and “become an original art form” was favored by some artists. These artists - such as Walther Ruttmann, Oscar Fischinger, Hans Richter or Viking Eggeling - and their works presented compressively and perfectly the features and characteristics of absolute cinemas.
Firstly, because of the strong connection with abstract painting, abstraction in films reflected back and forth with this art. For example, the using of many symbols, such as square, circle, cube, rectangle, triangle, to name a few became so popular in these artists who followed absolute cinema movement. For instance, in Rhythmus 21 (1921) by Hans Richter, the appearance of squares and rectangles emphasized the mechanical movement of symbols. In Rhythmus 21, we cannot find the change of emotion or the existence of narrative. It was all about of pure movement and pure geometry. The abstraction was obviously shown by the re-arrangement of space, objects (which was created by animation) not by creating some visible form. It was abstraction in vision but not involving with music yet. Using the same methods but in different aspect, Diagonal Symphony by Viking Eggeling tried to created “abstract form” (Avant-Gard Film, Form…) by using not geometric objects but “complex shapes”. This short film didn’t make any clearly sense about the vision of objects (maybe it was looked like many parts of the harp), but the way they were presented on screen is beyond the simple mechanical movement. It was the movement of scrolling paper, which revealed more and more about the “complex shapes”. In addition, if paying enough attention to that such movement, we can feel the rhythm of the invisible music in there.
The combination of abstract objects and music could be seen more clearly in some other works, such as Opus 1 by Walter Ruttmann, Optical Poem and Fantasia by Oscar Fischinger. In Opus 1, instead of creating mechanical movements, Ruttmann simulated them to the smooth one, like a move from painting and drawing actually. Moreover, the smooth movements made the border of the objects less sharp and cubic. On the other hand, Optical Poem was created to synchronize with “2nd Hungarian Rhapsocy” by Franz Liszt. There is the repetition and returning of some similar, classical geometry like circle, triangle, square, and so on. The movements in this film seems more complex and more overlapped each other, especially when each of them followed the rhythm of the music, which created the perfect “musical drama” and musical emotion (slow, fast, climax, etc.). In the same level, Fantasia, which its visual was designed by the same filmmaker of Optical Poem, attempted to build an “art cartoon”. The movements, the objects in Fantasia once again went so far from the original objects. It really drew a flexible and vivid animated “picture” about music. The association of elements, such as music, objects and even color created a beautiful symphony. The movement of musical instruments was simulated to the movement of the objects (or more precise is the group of different color). In these films, the connection of objects, music actually implied to the strong bond of filmmakers and musicians/composers.
And finally, we come to another work of Richter: Ghosts before Breakfast. In this film, Richter used mostly the classical filmic technology such as stop-motion and animation along with the editing technique like reverse. Besides the visible of abstract objects, we can sense some old element from Dada movement: the “incoherent narrative”, the illogical thinking like the name of the film: the ghost in this film was created by some incomprehensible actions and events, they against completely the daily routine actions.
