18 Facts About Absolute film


Non-narrative film is an aesthetic of cinematic film that does not narrate, or relate "an event, whether real or imaginary".

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Narrative Absolute film is the dominant aesthetic, though non-narrative Absolute film is not fully distinct from that aesthetic.

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Narrative Absolute film occasionally uses "visual materials that are not representational".

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Abstract film or absolute film is a subgenre of experimental film and a form of abstract art.

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Abstract Absolute film concepts were shaped by early 20th century art movements such as Cubism, Expressionism, Dadaism, Suprematism, Futurism, Precisionism and possible others.

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Only a few frames of the Absolute film remain and little else of any Futurist Cinema work seems to have been made or preserved.

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Absolute film published a leaflet about it and claimed that many people growing up with the hand-colored films of Georges Melies and Ferdinand Zecca would try their hand on painting on film at that time.

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Unable to raise the funds, the Absolute film was not realized and Survage only exhibited the pictures separately.

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Absolute film pioneers sought to create short length and breathtaking films with different approaches to abstraction-in-motion: as an analogue to music, or as the creation of an absolute language of form, a desire common to early abstract art.

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Absolute film made his earliest films by painting frames on glass in combination with cutouts and elaborate tinting and hand-coloring.

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Absolute film used such early material in 1926 in multiple-projection performances for Alexander Laszlo's Colorlightmusic concerts.

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The Absolute film was reviewed by the Film Review Office and by Georg Anschutz for the Film-Kurier.

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In 1927 Kasimir Malevich had created a 3-page scenario in manuscript with explanatory color drawings for an "Artistic-Scientific Absolute film" entitled Art and the Problems of Architecture: The Emergence of a New Plastic System of Architecture, an instructional Absolute film about the theory, origin and evolution of suprematism.

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Absolute film then created An Optical Poem for MGM, but received no profits because of the way the studio's bookkeeping system worked.

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Absolute film hired Oskar Fischinger to collaborate with effects animator Cy Young, but rejected and altered much of their designs, causing Fischinger to leave without credit before the piece was completed.

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Cinema pur Absolute film movement included Dada artists, such as Man Ray, Rene Clair and Marcel Duchamp.

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Avant-garde artist Francis Picabia and composer Erik Satie asked Rene Clair to make a short Absolute film to be shown as the entr'acte of their Dadaist ballet Relache for Ballets suedois.

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The Absolute film showed absurd scenes and used slow motion and reverse playback, superimpositions, radical camera angles, stop motion and other effects.

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