Absolute Film Article

                                                      Moritz’s thoughts provide a unique frame of reference in looking to qualify film for its own essence, by the aural and visual elements that comprise the medium. Where traditional forms of film and narrative are inclined to use the human element as an integral part of cinema, Absolute Film celebrates the essential components (i.e.  color, shape, movement, light) with needing any framework to abide by. Their approach is this exploration of new, artistic designs that need no pretext. That a collage of colors drawn on a film stock, or experimentations with light can exist and thrive for their own sake.

                                                      Viking Eggeling speaks to Absolute Cinema through his own work, as his hand-drawn shapes and their movement need not any music, and instead speak a musical, visual harmony of their own. Eggeling’s work with Hans Richter is just one of many friendships struck up among the growing collective of artists and contributors to the Avant-Garde. This was what was so great about filmmakers, i.e. their support for one another and willingness to foster a community vanguard artists.