This programme comprises three types of film-making which, in their different ways, underpin the thesis explored in the exhibition. These include films that specifically engage in what we might describe as "cosmic speculation" and other key themes of the exhibition, or form part of the history of the abstract film and the art of movement.
Thus, the points of light in the work of Larry Cuba connect with the work of James Whithey; Oscar Fishinger consciously evokes the atomic imaginery in his first films, Hans Richter, Walther Ruttman, Henri Chomette and Dudley Murphy in collaboration with Fernand Léger essay in their works different approaches in which film seeks to distance itself from representation. While the Germans took abstract painting as their model, the French were more interested in movement and rhythm (the cine-poem).
This programme comprises three types of film-making which, in their different ways, underpin the thesis explored in the exhibition. These include films that specifically engage in what we might describe as “cosmic speculation” and other key themes of the exhibition, or form part of the history of the abstract film and the art of movement.
Thus, the points of light in the work of Larry Cuba connect with the work of James Whithey; Oscar Fishinger consciously evokes the atomic imaginery in his first films, Hans Richter, Walther Ruttman, Henri Chomette and Dudley Murphy in collaboration with Fernand Léger essay in their works different approaches in which film seeks to distance itself from representation. While the Germans took abstract painting as their model, the French were more interested in movement and rhythm (the cine-poem).
