Fernand Leger - Ballet mecanique (1924)
Fernand Leger - Ballet mecanique (1924) Ballet mécanique is a 1924 experimental film directed by Fernand Léger and Dudley Murphy with cinematography by Man Ray, music by George Antheil, and starring Alice Prin. The film was premiered by Frederick Kiesler in Vienna on 24 September 1924, and runs approximately 16 minutes. The original version of Antheil,s music ran almost 30 minutes, and a married print of film and music was not made until 2000 by sound engineer and composer Paul Lehrman.
René Clair - Entr,acte (1924)
In 1924, a film named Entr,acte premiered as entr,acte for the Ballets Suédois production Relâche at the Théâtre des Champs-Élysées in Paris. Relâche is based on a book and with settings by Francis Picabia, produced by Rolf de Maré, and with choreography by Jean Borlin. This short film was directed by René Clair with the music for both the ballet and the film composed by Erik Satie (the last music he composed). For this production, the dadaists collaborating on the project had invented a new flavor of dada or surrealism: instantanéisme. The complete film takes about 20 minutes using such techniques as watching people run in slow motion, watching things happen in reverse, looking at a ballet dancer from underneath, watching an egg over a fountain of water get shot and instantly become a bird and watching people disappear. The cast included cameo appearances of Francis Picabia, Erik Satie, Man Ray and Marcel Duchamp. The conductor of the orchestra at the premiere was Roger Désormière.
Viking Eggeling - Symphonie Diagonale (1924)
Born in Sweden to a family of German origin, Viking Eggeling emigrated to Germany at the age of 17, where he became a bookkeeper, and studied art history as well as painting. From 1911 to 1915 he lived in Paris, then moved to Switzerland at the outbreak of World War I. In Zurich he became a associated with the Dada movement, became a friend of Hans Richter, Jean Arp, Tristan Tzara, and Marcel Janco. With the end of the Great War he moved to Germany with Richter where both explored the depiction of movement, first in scroll drawings and then on film. In 1922 Eggeling bought a motion picture camera, and working without Richter, sought to create a new kind of cinema. In Diagonal Symphony, the emphasis is on objectively analyzed movement rather than expressiveness on the surface patterning of lines into clearly defined movements, controlled by a mechanical, almost metronomic tempo.