bal tabarin ( film )
an appearance at the popular bal tabarin in san francisco won a contract at rko studio, where her name was shortened to ann .
alice guy blache’s film the cabbage fairy is widely regarded as the first narrative film .
here a woman with brown curls and a white, blue, and pink flounced dress dances in the paris nightclub bal tabarin. elements of the work point to current events—the arab riding a camel refers to the turco - italian war of 1911 and flags indicate sentiments of nationalism. in his depiction of bal tabarin the artist merges his interest in capturing the dynamism of motion, shared with fellow futurists, with the integration of text and collage elements, such as sequins, influenced by his study of french cubism .
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leger worked with dudley murphy and man ray on the visual (silent) film. man ray was an artist and experimental photographer and cinematographer, and murphy a young revolutionary film maker (danse macabre 1922) who went on to make the first feature film with a black cast and star (bessie smith in st louis blues (1929) .
this was the first ever feature film (not just the main film in an evening’s entertainment but at some venues in australia in 1906 the only film to be shown). produced by the theatrical entrepreneurs the tait brothers, the film capitalised on the public’s taste for bushranger stories, as evidenced by the success of shorts like bushranging in north queensland (1904) and the bushranger (1904). the eponymous hero and most notorious bush - ranger, ned kelly, had been captured and executed only 25 years previously (1880) .
but with this smorgasbord of different inventions in the technology of film - making, viewing and projection, what was actually drawing the audiences into the kinetoscope parlours, amusement arcades, and viewing theatres (no proper ‘cinemas’ until 1904), was the films themselves – often no more than a minute or two long. alice guy blach é was t he first female film director that we know of, and the author of the first narrative film – predating those of lumiere by a few months. it fell to blach é to make the first narrative film – the first attempt to tell a story with motion pictures. although only a minute long, blach é’s film was the first one of several hundred thousand storytelling movies .
by 1898 - 1900 smith had created significant innovations – like the film title, the inter - title, and parallel action – as in santa claus 1898 .
bunuel had met salvador dali and the poet federico garcia lorca at university in madrid. beginning his adult life as a philosopher, he moved to paris and began work as an assistant director, working with jean epstein and josephine baker. in 1929, he developed a short film le chien andalou (the andalusian dog) with salvador dali. this became the most famous film of the surrealist movement, and vastly influential in the world of experimental film. so in 1929 you have two major seminal works: from vertov and bunuel .
i found the music of ballet mecanique so inspiring i incorporated in my film zeiteye – which features 11 decades of media - arts innovations in 11 minutes, set to antheil’s iconic composition .
the history of experimental film is therefor heavily weighted towards the early experiments – simply, there was much more to innovate and invent then! so what we take for granted as devices ‘natural’ to film – the edit, the flashback, intercut parallel stories, the closeup, medium close - up, long - shot, positioning or location shot, the pan, tracking, back - projection, double - exposure, special effects – all these techniques had to be ‘invented’ by the early film - makers, and this has justifiably made these men and women famous .
kahn’s project lasted from 1909 to 1930. he commissioned hundreds of photographers, gave them cameras and colour film (autochrome) and they created and collected 72000 colour photographs from over 50 countries .
a onetime childhood dance prodigy, she reached the peak of her film career at mgm in the late 1940s and early ’50s with “on the town, ” “easter parade” and “kiss me kate. ”
in france, georges melies, the great experimental film - maker, had also enjoyed a background in music hall and variety theatre – as a magician. this was an ideal background for his work with cinematic special effects. voyage to the moon (1902) is his masterpiece – the first science - fiction film – and a catalogue of innovative effects, stage designs and cinematic story - telling .
but recently the complexity of the story of the invention of the motion picture has become apparent. after nearly a century of necessary preliminary inventions, including various toys that provided the illusion of a motion picture (like the thaumatrope), the magic lantern, photography itself, flip - books, cameras that could take successive images on paper, the invention of celluloid film and then film strips, film - projectors (etc). by the last decade of the 19th century, all these ‘preliminary’ inventions werre in place, and several dozen inventors, working largely on their own, competed to produce a viable motion - picture system .
her first film at rko, “new faces of 1937, ” featured her dancing. she next played an acting hopeful in “stage door, ” with katharine hepburn, ginger rogers, lucille ball and eve arden .
the popularity of musicals declined in the 1950s, and her film career ended in 1956. miller remained active in television and the theater, dancing and belting songs on broadway in “hello, dolly” and “mame. ”
this is the first ever feature film. it was a box - office success in both australia and england, and spawned several imitations, and indeed was remade or partially remade by the tait brothers in 1910 .
leger was already an established and successful ‘post - cubist’ painter at the time he collaborated with american film - maker dudley murphy and composer george antheil on maybe one of the first ‘art’ movies – the ballet mecanique .
of course these machines only had an audience of one, so it wasn’t long before edison was developing a film camera and projector system – one machine could reach audiences of a few hundred! in 1896 edison launched first the vitascope then the kinetoscope projector .
a hundred years later, working at the new york institute of technology, nancy burson developed sophisticated computer - graphic layering techniques to create composite portraits. by averaging dozens of photographs of models, film - stars, great society beauties (etc) can you create the portrait of a type of person ?
in the climate of dada, and the vibrant russian constructivist arts emerging from the civil war (1917 - 1922) ruttman, richter and other artists began to experiment with abstract animations. these short films set the tone for a wave of 1920s experimental films that have become collectively known as avant - garde film .
of course there are many other experimental films still of interest from the 1920s. it was the decade in which the artist’s film – the experimental film – came alive. and they weren’t just ‘films’ in the narrative style that had become major box office – they weren’t just films that told stories, or ‘remediated’ older media like the play, or the novel. a classic example from this period is marcel duchamp’s anemic cinema (1926) – working with man ray and others, duchamp began to explore the same territory as laslo moholy nagy and hirschfield - mack (we’ll look at their work a bit later in this talk) – building machines that would make films…
miller’s legs, pretty face and fast tapping (she claimed the record of 500 taps a minute) earned her jobs in vaudeville and night clubs when she first came to hollywood. she adopted the stage name of anne miller. her early film career included working as a child extra in films and as a chorus girl in a minor musical, “the devil on horseback. ”
the other main contenders for the invention of the movies were august and louis lumiere, with their combined camera - projector launched in 1895. their ingenious invention was commercially supported by a range of films shot by themselves (including the famous arrival of a train at la ciotat), as well as talented new directors, including the first woman film director alice guy blach é :
it’s inspiring of course, because it is the first ever feature film (predating d. w. griffiths’ birth of a nation (1915) by almost a decade, and a year before the first european feature l’enfant prodigue (michel carre 1907). coincidentally, the first westerns shot in the real wild west, were made in the usa the following year – bushrangers, bandits and outlaws fuelled the public taste for screened entertainment .
ballet mecanique was a unique and influential experiment, though due both to technical reasons (synchronised sound wasn’t available until 1929 - 30), and artistic - personal reasons, the film was not married to its sound - track until the late 1990s. antheil’s music is an iconic modernist piece – at one and the same time, very much of its time, but using sound samples and audio - trouve techniques more familiar to the digital age. it must have seemed incomprehensible at the time…
george albert smith, like georges melies, came from a theatrical, music - hall background (as a hypnotist), running his own stage - show with his wife, a professional music - hall entertainer and actress, who appears in several of his films. smith began by showing magic lantern slides as part of his stage - show, amplifying these with live performance and narration (and presumedly smoke, mirrors, lighting effects and music and sound effects), before experimenting by transferring these skills and techniques to film - making .
so during this fascinating period of transformative developments in the arts, sciences and communications and entertainment media (arts: cubism, futurism, fauvism; sciences: quantum theory, relativity, psychology; technology: wireless telegraphy and voice radio, theory of television, colour printing, electric typewriter, telephone, (etc); entertainment: film, mutoscope, cylinder and disc record players; juke - box, colour photography, brownie snapshot camera, etc) ) there is a parallel between the innovation in media technologies and the innovation of artists, directors and entrepreneurs (producers, impresarios, show - men, arcade owners) who were developing commercial content for these technologies .
dziga vertov man with a movie camera 1929 urltoken this is vertov’s masterpiece, following his epic one sixth of the world (1926), and his work on the agit kino trains with alexander medvedkin during the russian civil war (1917 - 1922 – the period central to pasternak’s dr zhivago), and his work on kino - pravda – (movie - truth) in the early 1920s. the man with a movie camera is ‘an experiment in cinematic communication’ – ‘without the help of intertitles, without the help of a story, without the help of theatre, ” it is a film that attempts to create a truly international, purely cinematic experience… the ‘author - supervisor - experimenter’ is david abelevich kaufmann, aka dziga vertov. luis bunuel: le chien andalou 1929
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story of a girl who witnesses murder of notorious international jewel thief. afraid that the gang will attack her, she flees to paris .
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, invites them to his office the next day and offers them jobs performing don' s music. meanwhile, at the cafe goheen frequents, manet confronts goheen with what he has learned about the murder and the missing jewels. goheen now claims he is an insurance inspector, and as they talk, judy and stella show up in front of the cafe. goheen overhears them mention the name of their apartment building, but manet does not see them. later, goheen and augie break into stella' s apartment and after finding mendies' money clip among judy' s things, conclude that judy also has the key to his safe. on the day that don and judy are to open at the
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we used machine learning to identify this work in photos from our exhibition history .
moma collaborated with google arts & culture lab on a project using machine learning to identify artworks in installation photos .
this work is included in the provenance research project, which investigates the ownership history of works in moma' s collection .
on consignment to filippo tommaso marinetti (1876 - 1944), milan, until c. 1925 [ 1 ]. richard wyndham (1896 - 1948), london, by 1935 [ 2 ]; estate of richard wyndham, 1948; sold through sotheby' s, london to the museum of modern art, new york, november 24, 1948 (acquired through the lillie p. bliss bequest) [ 3 ] .
[ 1 ] per daniela fonti, with maurizio fagiolo dell' arco, gina severini franchina, et al. ,
, milan: a. mondadori, 1988, pp. 128 - 129, no. 107 :
milano, collezione marinetti (in deposito fino al 1925 c) .
severini stated in an artist' s questionnaire issued by the museum of modern art that he first sold the painting to léonce rosenberg, paris, who subsequently sold it to richard wyndham (collection files, department of painting and sculpture, the museum of modern art, new york). the questionnaire is undated. though it is correct that severini signed a three - year contract with rosenberg in 1919, the provenance information given by the artist could not be confirmed so far .
fine modern paintings & drawings including the well - known collection formed by the late major richard wyndham, m. c. , sold by order of the executors
[ … ], sotheby' s, london, november 24, 1948, no. 153 :
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open today, 10: 30 a. m. –5: 30 p. m .
ann miller, the raven - haired, long - legged actress and dancer whose machine - gun taps won her stardom during the golden age of movie musicals, died thursday of lung cancer. she was 81 .
miller died at cedars - sinai medical center, said esme chandlee, her longtime friend and former publicist .
she remained a dazzling tapper in her 60s and earned millions on broadway and touring with mickey rooney in “sugar babies, ” a razzmatazz tribute to the era of burlesque .
“at mgm, i always played the second feminine lead; i was never the star in films, ” she once recalled. “i was the brassy, good - hearted showgirl. i never really had my big moment on the screen .
“‘sugar babies’ gave me the stardom that my soul kind of yearned for. ”
most of her rko films were low - budget musicals and comedies. a contract at columbia pictures started impressively with the role of the would - be ballerina in frank capra’s oscar - winning “you can’t take it with you. ”
then she was cast in a series of wartime b musicals with titles like “true to the army, ” “priorities on parade” and “hey rookie. ”
when cyd charisse broke a leg before starting “easter parade” at mgm with fred astaire, miller replaced her. that led to an mgm contract and her most enduring work .
she was teamed with gene kelly and frank sinatra in “on the town, ” red skelton in “watch the birdie, ” and bob fosse in “kiss me kate. ”
‘ lonely life’ other mgm films included: “texas carnival, ” “lovely to look at, ” “small town girl, ” “deep in my heart, ” “hit the deck” and “the opposite sex. ”
in later years, she astounded audiences in new york, las vegas and on the road with her dynamic tapping in “sugar babies” when she was in her 60s. in 1990, she commented that “sugar babies” had made her financially independent .
before each performance (1, 700 on broadway), she practiced for an hour .
“honestly, i have had to live like a high priestess in this show, ” she remarked in a 1984 interview. “it is a very, very lonely life. when you work the way i work — that means hard — there’s no time for play. ”
she was born johnnie lucille collier in chireno, texas, the first name dictated by her father, who had wanted a boy. after her parents divorced, she was called annie, for reasons she never knew .
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“the measure of an artist’s originality, put in its simplest terms. is the extent to which his selective emphasis deviates from the conventional norm, and establishes new standards of relevance. all great innovations which inaugerate a new era, movement or school, consist in sudden shifts of a previously neglected aspect of experience, some blacked - out range of the existential spectrum. the decisive turning - points in the history of every art form…uncover what has already been there: they are “revolutionary”, that is destructive and constructive, they compel us to revalue our values and impose new sets of rules on the eternal game. ”
“ (ettiene - jules) marey made it possible for the avant - garde to become receptive to new values: instead of escape into the past, the unreal or the dream, there was the double cult of machines and their propulsion …. inspiring giacomo balla & luigi russolo, marinetti, and ultimately duchamp (1912 nude decending a staircase )
credit for the invention of motion pictures is usually given to the american thomas alva edison (1891), or to the french brothers auguste and louis lumiere (1895). the lumiere brothers have the best claim because their technology used a camera - projector technology that produced a projected image for an audience of many people, while edison’s first machine was a ‘peep - show’ machine .
louis le prince was french, and later worked in england and the usa. as a child he spent time with his father’s friend jacques louis mande daguerre who in the 1830s had perfected the first positive photographic system the daguerrotype. so le prince learned about chemistry, cameras, lenses, and the art of photography from one of the great inventors. (daguerre had made his own name initially by the production of large scale dioramas (360 - degree panoramas) – huge paintings on canvas that were mounted in specially built circular pavilions, and showed famous city - scapes, battle - scenes or notable countryside vistas )
louis le prince went on the study painting in paris, and chemistry in leipzig. he went to leeds in 1866 where he married an artist and with his wife’s brother set up a company specialising in printing coloured images onto metals and ceramics, they also founded leeds technical school of art. in the early 1880s, le prince first worked on a 16 - lens camera in an attempt to make a motion picture, by exposing a sensitised sheet of paper – one frame per lens, but the results were jerky as each lens was taking an image from a slightly different perspective. then le prince made a single lens camera, shooting onto a strip of sensitised paper 90mm wide and 1. 2 metres long (very short movies !) .
georges demeny worked with etienne - jules marey on his chrono - photographes, and then in 1892 devised his photophone for taking motion images and his phonoscope for projecting them .
photography was spurring innovation in other directions too – both hp bowditch and darwin’s cousin francis galton, who was mainly interested in research into faces, and whether facial features could reveal anything of the inner psychology or character of the sitter (he made many composites of criminal types) – both bowditch and galton produced studies or composition images (over - printed or sandwich - printed) portraits, where several negatives would be printed onto one sensitised plate .
these were still images formed from overprinting 12 negatives in order to produce an ‘archetypal’ or average image (centre) for a doctor .
original ‘types’ are called ur - types or archetypes, and i guess burson had the same fascination as galton and bowditch in trying to discover the ur - type ‘holy man’ or avatar. this is a fascinating area of research. have you ever wondered where we get our mental image of christ, buddha or mohammed? historically there are no contemporary portraits that we know of, so where do these pervasive images come from? they recur throughout recent history as artists and illustrators tackle the mythological – look at the commonalities in pictures of fairies and elves and other mythological creatures. what souces do illustrators and artists draw from? how do they assess the verisimilitude of their pictures ?
wulz was a late - futurist artist – she met marinetti in 1931. by this time the futurists were aligning behind mussolini’s fascist. a very beautiful woman, she made a variety of futurist photographs using multiple exposures, photodynamic long exposures, and she was a very proficient conventional photographer too – running her father’s studio in trieste. but wanda and her sister marion also flirted with surrealism. in this double - exposure, wanda has retained a human eye – her own. she also made a portrait of her cat again with her own left eye superimposed on the cat’s .
of course artists and experimental photographers – like duchamp, man ray, moholy nagy, dziga vertov – had experimented with multiple exposure composites or ‘sandwich printing’. the discovery of how photography could be a flexible tool for compositing images together, had been shaired by mid victorian photographers like henry peach - robinson and oscar rejlander .
oscar rejlander: two ways of life 1857 – the kindly father shows his sons the rewards of the life of vice and a life of virtue. a composite of 32 separate negatives were used to create this, (at that time) a really large photograph – 41cm x 79 cm – one of the first great examples of multiple - printing .
muybridge: test - track for the leland stanford - funded horse locomotion photographs – 24 cameras, 24 trip - wires = 24 photographs of each stage of a horse’s locomotion .
muybridge, another great media innovator from this period had started to animate drawings based on his chronological photographs in a device based upon a magic lantern that he called the zoopraxiscope (from 1893) .
and he built his own filming studio with glass roof, proscenium stage, barn doors for extra daylight. and as noted, i n 1897 smith invented and patented a double - exposure technique in 1897, enabling him to produce ‘frame - in - frame’ parallel action sequences .
between them, these early pioneers (george albert smith, rw paul, georges melies, edwin s. porter (and others) invented most of the basic grammar and syntax of the motion picture, including: the close - up, the double - exposure, stop motion, elapsed time, hand - colouring, editing shots into sequences, parallel action, titles and inter - titles, prosthetic make - up, and much more that would become the building - blocks of the major art and entertainment form of the 20th century .
the paris world exposition in 1900 was the launchpad for a number of innovations and continued an artistic obsession which re - occurs throughout the history of media developments from greek theatre, through wagnerian opera, victorian dioramas and the ballets russes, – it was the interest in making immersive multimedia experiences. wagner christened this the gesampkunstwerk or ‘composite art work’. grimoin - sanson’s fabulous cineorama was shown at the paris exposition in 1900 and was a brave attempt to create a 360 - degree simulation of a balloon flight over paris, using 10 synchronised 70mm projectors…
during this same period, the lumiere brothers were experimenting with a colour photography technique that they called autochrome (patented in 1903). this produced beautiful, soft - coloured images, the soft colour coming from the microscopic potato - starch partlcles that had been dyed with three primary colours – red - orange, green and blue - violet, then randomly mixed onto a paper substrate, coated with a lamp black background, then covered with a pan - chromatic photo - sensitive solution .
these 3 additive primary colours had been identified in the young - helmholtz - maxwell theory of trichromatic vision in 1861 – which analysed the light - sensitive rods and cones in the eye, and determined that they were sensitive to red, green and blue and that all other colours were made by mixing rgb values .
renoir and the impressionists began to explore the the nature of vision in the light of the young - helmholtz - maxwell theory of colour vision, often using a pointillist brush - mark – dots of pure colour – to create their subtle paintings. so trichromatic printing, the autochrome colour photograph, and the pointillist painting shared some features in common, all being derived from the same theory .
stereo viewers had been invented by charles wheatstone in the 1850s, and a spate of stereo cameras became available soon after. when kodak launched its stereo brownie camera around 1904, stereo photography became widespread. the brilliant 20th century photographer jacques henri lartigue (diary of a century, 1970), made most of his early work in the stereo format .
charles wheatstone (who had previously invented a telegraph system) proposed his theory of stereo vision in 1838. by 1851, stereo - cameras and viewers like this one were available .
maxwell’s 1855 suggestion and this seriously defective 1861 demonstration appear to have been quickly and completely forgotten until being brought to light again in the 1890s. in the intervening decades, the basic concept was independently re - invented by several people. ” (wikipedia )
“the mutoscope worked on the same principle as the “flip book. ” the individual image frames were conventional black - and - white, silver - based photographic prints on tough, flexible opaque cards. rather than being bound into a booklet, the cards were attached to a circular core, rather like a huge rolodex. a reel typically held about 850 cards, giving a viewing time of about a minute. the reel with cards attached had a total diameter of about ten inches (25 cm); the individual cards had dimensions of about 2 - 3 / 4″ x 1 - 7 / 8″ (7 cm x 4. 75 cm) .
mutoscopes were coin - operated. the patron viewed the cards through a single lens enclosed by a hood, similar to the viewing hood of a stereoscope. the cards were generally lit electrically, but the reel was driven by means of a geared - down hand crank. each machine held only a single reel and was dedicated to the presentation of a single short subject, described by a poster affixed to the machine. ”
the highly successful mutoscope (still in amusement arcades in the uk until decimalisation in 1970), and edison’s profitable kinetoscope, followed in a long tradition of toys like the thaumatrope and joseph plateau’s phenakistoscope as individual viewing machines in parlours, amusement arcades and fair - grounds around the uk .
matisse was a most important contemporary of picasso – his style of painting extended the impressionist idea of colour into a much more expressive territory – this style of painting was called fauvist (like a wild beast) by its detractors .
just another flavour of how the 20th century media - arts were developing around the same time as cubism and fauvism – peter behrens was a german artist who became the world’s first ‘industrial’ designer, and in 1906 he created a wide range of products, including electric lamps, electric clocks, and other products for the german electrical supplier aeg. in doing this, he also created the world’s first ‘corporate identity’ – a complete branding system for aeg, all their products, their factories, livery, etc…
all this activity – new art movements (futurism, fauvism, post - impressionism, vorticism etc), new ways of looking at the world (cubism, special relativity, the movies, animation etc), industrial design – all these things were happening at the same time as the invention of radio telegraph (marconi), voice - radio transmission (fessender), half - tone photo - reproduction, trichromatic printing, the autochrome colour photograph, electric typewriter… all these innovations and inventions in art and science and technology began to create a world that is a kind of preview of our own times. consider how the www (1993), ipod (2001), iphone (2007), ipad (2010), ps2 (2000), x - box (2001), hdtv (2004), itunes (2003), movie special effects, e - books (2007), facebook (2004), and the rest have altered our world in just a few years…
the directors, including georges melies, alice guy blache, charles tait, louis feuillade, george albert smith, eric porter, and rw paul invented the movies as much as edison, lumiere and the others that we have mentioned invented the technology of the movies .
the remainder of this talk illustrates just some of these developments in form and content that characterised the period up to around 1915 – the period of the invention of cinema .
campbell swinton’s visionary article in scientific american of 1908 is the first ever description of an electronic television – he calls it ‘distant electronic vision’ which, after baird’s abortive attempt at an electro - mechanical television system, became the only way that tv works. . until the digital revolution removed the need for the cathode ray tube .
“this part of the problem of obtaining distant electric vision can probably be solved by the employment of two beams of kathode rays (one at the transmitting and one at the receiving station) synchronously deflected by the varying fields of two electromagnets placed at right angles to one another and energised by two alternating electric currents of widely different frequencies, so that the moving extremities of the two beams are caused to sweep simultaneously over the whole of the required surface within the one - tenth of a second necessary to take advantage of visual persistence. ” - a. a. campbell swinton in scientific american
ballets russes were another epic attempt to create a composite or total art work, after the gesamptkunstwerk ideal described by wagner 50 years earlier .
working directly for czar nicholas, prokudin - gorsky tried to document every aspect and region of the imperial russian empire – stretching from the baltic to the pacific, and the arctic to azerbajan, with beautiful autochrome - style colour photographs – a project nearly as grand in concept as albert kahn’s planetary archive – began the previous year .
winsor mccay created animated films and stage performances, where he would tell a little nemo story, illustrating it with drawings, clips of previously made animations, and live drawing .
mccay stands out above all other comic artists, for his delightful and quintessential art nouveau drawing and colouring, but it is the imaginative animation that inspires. like norman mclaren some 30 years later, mccay is not afraid to improvise and innovate. in little nemo, he combines frame - by - frame drawing, live drawing to camera, live action, colour and captioning – mixing these styles to both capture the magic of animation, and hinting at his stage performances to be developed fully in 1914 with his gertie the dinosaur shows. the breakdown of the audiences’ cognitive framework – their suspension of disbelief – by revealing the technique of the animator and illustrator, is mccay’s original contribution to the history of animation .
photography was still under the spell of marey and muybridge, and the futurists welcomed this opportunity to exploit motion blur, multiple exposure and chrono - photography to create images with motion .
in a series of works initiated by the city of paris, robert delaunay began to use painting as a compositing tool, drawing together and synthesising visual components derived from his own paintings and sketches from nature, postcards, newspaper images and the works of other painters, developing a cubist - derived style to integrate these fragments together in works that are still fresh and new. in city of paris, you can detect fragments of his own eiffel tower (the red tower 1910) some cityscape by henri rousseau, and the classical three graces. this approach is revolutionary in modernist painting, though some victorian artists had explored the compositing idea some 50 years before (see william powell frith derby day 1858), and so too had photographers in the 19th century – see aaron scharf: art and photography (1967 )
the main strands of avant - garde art during this period affected music too – alexandr scriabin composed his prometheus for instruments and coloured lights, russolo – another futurist – developed his theory of the art of noise – and put this theory into practice with his ‘ mechanical orchestra ’ .
the surrealists were also vastly impressed and influenced by the serial films of louis feuillade: fantomas (1913), les vampires (1915), judex (1916) – these were serials – 10, 12, or 13 part - films, each around 25 minutes long, magical and fantastic crime thrillers (the vampires are a gang of thieves and murderers, who invent ingenious crimes). most, if not all of these films are available on youtube .
the jugs, crockery and bottles in an hotel room come alive after dark in the haunted hotel, and they are joined by a tiny comedia del’arte mannequin. this is an early stop - motion animation .
florey was a franco - american who directed many hollywood movies including murders in the rue morgue. you can see from the still above that he was influenced by robert weine’s cabinet of dr caligari, and his aptitude for interesting shorts in the 1920s probably stemmed from his work as an assistant to louis feuillade in the early part of the century .
duchamp had become famous with his nude descending a staircase (1912), and his giant construction – the ‘large glass’ – the bride stripped bare by her bachelors, even. (1923 )
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bal tabarin is a 1952 american drama film directed by philip ford and written by houston branch . the film stars muriel lawrence , william ching , claire carleton , steve brodie , steven geray and carl milletaire . the film was released on june 1 , 1952 , by republic pictures . 
bal tabarin is a 1952 american drama film directed by philip ford and written by houston branch. the film stars muriel lawrence, william ching, claire carleton, steve brodie, steven geray and carl milletaire. the film was released on june 1, 1952, by republic pictures.
bal tabarin is a 1952 american drama film directed by philip ford and written by houston branch. the film stars muriel lawrence, william ching, claire carleton, steve brodie, steven geray and carl milletaire. the film was released on june 1, 1952, by republic pictures.