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Abstract

Maintext

Literature

Textindex

Absolute Film

by Marcel Schwierin, Sandra Naumann

List of books in this text

Abstract Cinema - Chromatic Music (1973)

Corra, Bruno
Apollonio, Umbro (ed.)

Audio-Visual Music: Color Music – Abstract Film (1980)

Whitney, John
Whitney, John (ed.)

Digital Harmony: On the Complementarity of Music and Visual Art (1980)

Whitney, John

Film als Film: 1910 bis heute (1977)

Hein, Birgit and Herzogenrath, Wulf (ed.)

Ohne Titel [Malerei mit Zeit]: Aus dem Nachlass, vermutl. 1919/20 (1977)

Ruttmann, Walter
Hein, Birgit Herzogenrath Wulf (ed.)

previously read texts

Absolute Film

Print Text

Timelines:1910 until today

Workdescriptions from this text

Workdescriptions from other texts

List of all Relations in this Text

SCHLIESSEN

«Absolute Film»

Works

Arnulf Rainer, Lichtspiel opus 1, Ornament Sound, The Flicker

People

Antheil George (Chap. 1), Badings Henk (Chap. 3), Beck Stephen (Chap. 4), Belson Jordan (Chap. 4), Brakhage Stan (Chap. 5), Bute Mary Ellen (Chap. 4, 2), Butting Max (Chap. 1), Clair René (Chap. 1), Conrad Tony (Chap. 4), Corra Bruno (Chap. 1), Cuba Larry (Chap. 4), Eggeling Viking (Chap. 1), Fischinger Oskar (Chap. 2, 1), Ginna Arnaldo (Chap. 1), Grant Dwinell (Chap. 3, 4), Hirsh Hy (Chap. 4), Kubelka Peter (Chap. 4), Köner Thomas (Chap. 5), Land Owen (Chap. 4), Landow George (Chap. 4), Lempert Jochen (Chap. 5), Lye Len (Chap. 2), Léger Fernand (Chap. 1), McClure Bruce (Chap. 5), McLaren Norman (Chap. 4), Murphy Dudley (Chap. 1), Müller Jochen (Chap. 5), Paik Nam June (Chap. 4), Rameau Jean-Philippe (Chap. 4), Reble Jürgen (Chap. 5), Richter Hans (Chap. 1), Ruttmann Walter (Chap. 1), Satie Erik (Chap. 1), Sharits Paul (Chap. 4), Sherwin Guy (Chap. 4), Smith Harry (Chap. 3), Whitney James (Chap. 3, 4), Whitney John (Chap. 4, 5)

Socialbodies

Birgit and Wilhelm Hein (Chap. 4), Der absolute Film (Chap. 1), John and James Whitney (Chap. 3), Schmelzdahin (Chap. 5)

Mentioned

A Colour Box (Chap. 2), Alchemy (Chap. 5), Allures (Chap. 4), Arabesque (Chap. 4), Ballet mécanique (Chap. 1), Cain and Abel (Chap. 3), Chicago (Chap. 5), Color Sequence (Chap. 3), Compositions (Chap. 3), Cycles (Chap. 4), Entr’acte (Chap. 1), Five Film Exercises (Chap. 3), Homage to Rameau (Chap. 4), Illuminated Music (Chap. 4), Matrix Trilogy (Chap. 4), Optical Sound Films (Chap. 4), Permutations (Chap. 4), R1. Ein Formspiel (Chap. 1), Rhythm (Chap. 1), Rhythm 21 (Chap. 1), Rhythm 23 (Chap. 1), Samadhi (Chap. 4), Spirals (Chap. 5), Study No. 2 (Chap. 2), Study No. 3 (Chap. 2), Study No. 4 (Chap. 2), Study No. 5 (Chap. 2), Symphonie Diagonale (Chap. 1), Synchronousoundtracks (Chap. 4), Tusalava (Chap. 2), Vaya Veronica (Chap. 2), Yantra (Chap. 3), Zen for Film (Chap. 4)

Keywords

Intermodale Analogie (Chap. 2), Materialität (Chap. 3, 4, 5), Proportionstheorie (Chap. 4), Pythagoreismus / Universelle Harmonie (Chap. 4), Verzeitlichung (Chap. 1), collage (Chap. 1), counterpoint (Chap. 3), montage (Chap. 1, 5), notation (Chap. 4), rhythm (Chap. 1, 4), synthesis (Chap. 2)

Timespans

1910 – 1930, 1930 – 1940, 1940 – 1960, 1960 – 1980, ab 1980

SCHLIESSEN

COMPENDIUM

ESSAYS

MISC.

EXHIBITION

Absolute Film