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Walter Ruttmann "Opus II" (1921), score by Alexis Milant

fischinger? so derivative... dailymotion; flv. (milant a.k.a. *the* most cinematic fingerboarder.) bonus vid: same as above, set to John Zorn's "Possession". (via mefi)
         
robodrug, September 13, 2007 at 6:00:33 PM CEST

Fancy that an' no trousers!
Whilst I can accept the Walter Ruttmann "Opus II" as a piece of work, that, I'm afraid is just the 'two fingers'


         
robodrug, September 13, 2007 at 7:03:59 PM CEST

Oops! a wee bit of a nazi woz oor Walter I fear?

Still it begs the question how a contemporary (abstract) artist like Paul Klee (with whom Ruttmann was acquainted personally) could be dismissed by the Nazis, as a "degenerate." and had 18 of his paintings exhibited at the Entartete Kunst whilst Walter woz allowed to write scripts and direct films for them?

Oskar Fischinger often ran foul of the Nazi's n' had to complete his abstract works like his 'Komposition in Blau' in secrecy He fled Germany 1936 for the US


         
robodrug, September 13, 2007 at 10:48:25 PM CEST

Ruttmannn's influence is obvious in the work of Oskar Fischinger so its ironic then in turn that Ruttman's use of montage was influenced by the Russian filmmaker Dziga Vertov

L’homme à la caméra u2b clip 2.5 min

different section: Man With A Movie Camera - R2D2 - Cinematic Orchestra u2b clip 9.5mins and the better clip

Interesting post prog I'd no idea of the many connections that were wove


         
progosk, September 14, 2007 at 8:24:33 AM CEST

wasn't aware of communist ruttman's later propagandist turn. still haven't watched his proto-koyaanisqatsi.


         
robodrug, September 14, 2007 at 1:42:17 PM CEST

Yes seems I was misinformed regarding the influence of Vertov's Man With A Movie Camera on Ruttman's montage work. Further reading shows that Symphony of a Great City predates Vertov's work by two years, Some stylistic aspects of Vertov's film are clearly borrowed from Ruttman's work Scenes like of machinery close-ups and the shots of a typewriter keyboard, tho' the claim of borrowing the store window display sequences, is a bit weak considering the European Avant-garde affection for the work of still photographer Eugène Atget Factual written evidence for claims of Ruttman's communist sympathies are as thin on the ground as those for the claims that Hitler n' Goebbels had once held party membership in the said!
















 

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