Berlin Symphony of a City

I have already included one entry for Ruttman that shows one of his abstract films Lightplay Opus I. Ruttman would collaborate with the animator Lotte Reininger. Ruttman’s reputation as a film maker however, is based on the above documentary Berlin: Symphony of a Great City. It is such an innovative example of cinema that it “remains a model for subsequent urban portraits throughout the world” (Kostelanetz, 2001 p.534). The rhythmic nature of the film puts me in mind Koyaanisqatsi: Life out of Balance from 1982 and other earlier films by Man Ray.  

Ruttman is not without his critics: “within twenty years” argues David Thomson, "Ruttman had moved from being a proponent of absolute cinema to a leading propagandist" (Thomson, D., 1975 p. 501). Ruttman's pure cinema "was always sterile and formalistic" and was "waiting to be exploited by a totalitarian message" (Thomson, D., 1975 p. 501). Indeed, Berlin does feature rhythm and motifs, "the large scale integration of single effects" that is similar to the hypnotic ornament of Celtic design, tattoos or a military parade. Is Ruttman, as John Grierson has argued "meretricious and dangerous"? (Thomas, D., 1975, p.501).

Sources:

Kostelanetz, R., (2001) Dictionary of Avant-gardes 2nd Edition, New York and London: Routledge. 

Thomas, D (1975) A Biographical Dictionary of the Cinema, London: Secker and Warburg

Abstract Cinema 1: Walter Ruttman

Walter Ruttman is perhaps best known for his film Berlin: Symphony of a Great City from 1927, a film that demonstrated the influence of Soviet film montage as exemplified by Vertov. Before he produced this classic film Ruttman was making short abstract films in the early 1920s. Ruttmen like Eggeling and Richter started out as a painter. For these painters-come-film makers “it seems that at first, they hoped that animation could be, above all, paintings salvation rather than films” (Leslie, 2002 p.46).

Lightplay Opus I has been referred to as “not only the first abstract film to be shown in public, but also a film hand-tinted in striking and subtle colours, with a live synchronised musical score composed especially for it (Russett and Starr, 1976 p. 40).

In 1976 Opus I is said to be missing however above is a film which is claimed to be Opus I. It is claimed that “Ruttman did not wish it (Opus I) to be seen, after he had made improvements to his later films” (Russett and Starr, 1976 p. 40).

As well as producing his Opus films Ruttman produced abstract films for commercial purposes in Munich and Berlin: “in 1923 he created the “Dream of Hawks Sequence” for Fritz Lang’s Siegfried” (Russett and Starr, 1976 p. 41). Later he joined Lotte Reininger in her feature length silhouette animation The Adventures of Prince Achmed Ruttman produced fantasy effects using the wax slixcing machine he had commissioned from Oskar Fischinger. Prince Achmed was completed in 1926 after which Ruttmen gave up animation (Russett and Starr, 1976 p. 40).

Bibliography:

Leslie, E., (2002) Hollywood Flatlands: Animation, Critical Theory and the Avant-garde, London and New York: Verso.
Russett, R.and Starr, C. (1976) Experimental Animation: An Illustrated Anthology, New York: Van Nostrand.