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).



Henry Chomette
Cinq Minutes de Cinéma Pur, 1925/6, 16 mm, b&w, no sound track, 5 mins.

Fernand Léger and Dudley Murphy
Ballet Méchanique, 1924, 16 mm, colour, 18 mins.

Marcel Duchamp
Anemic Cinema, 1925-26, 16 mm, b&w, no sound track, 7 mins.

Oskar Fischinger
Study n¼ 7, 1931, 16 mm, b&w, optical, 2.5 mins.
Spirals, 1926, 16 mm, b&w, no sound track, 4 mins.

Hans Richter
Rhythmus 21, 1922-24, 16 mm, b&w, no sound track, 4 mins.
Rhythmus 23, 1923-24, 16 mm, b&w, no sound track, 4 mins.

James Whitney


Jordan Belson
Allures, 1961, 16 mm, colour, optical, 7 mins.

Larry Cuba
3/78 (Objects and transformations), 1978, 16 mm, b&w, optical, 6 mins.
Two Space, 1979, 16 mm, b&w, optical, 8 mins.

Wallard Maas
Andy Warhol´s Silver Flotations, 1966, 16 mm, colour, optical, 5 mins.

Oskar Fischinger
Study n¼ 8, 1932, 16 mm, b&w, optical, 5 mins.
Radio Dynamics, 1943, 16 mm, colour, optical, 4 mins.

Hans Richter
Filmstudie, 1926, 16 mm, b&w, optical, 5 mins.

Walter Rutmann
Opus 1, 1920, 16 mm, colour, 8 mins.

Norman McLaren/ Evelyn Lambart
Lines-Vertical, 1960, 5.5 mins.
Lines-Horizontal, 1962, 5.5 mins.
Mosaic, 1965, 5.5 mins.

James Whitney