As time progressed different styles of filmmaking started to emerge from Impressionism to Abstract animation. In Russia, Futurists wanted to embrace the "machine age" and filmed different things that had to do with the technological advances at the time. This all started in the 1910s, after this decade a new film started becoming popular in the 1920s with Abstract Animation in which artists began to experiment with different additions such as music and painting. Not only did this start to become popular in Russia but in France filmmakers also began to experiment with different ways in which to make film and ways to get emotion from the viewers. This experimentation then spread to different countries all around the world from Japan to the US, cinema became the new and shiny thing of the decade in the mid-'20s. All types of strange and uncanny ways to make film started to go around, however as the next war began film stopped at abstract and became more towards trying to portray the military along with violence; this mostly in Europe and the US. Not only that but cinema also began to warp into having an agenda almost poetic or storytelling.
1. In the late 1910s in Germany, a few artists believed that since film was a visual art like painting its purest form would be abstract. One of them, Hans Ritcher, had studied art and worked with an Expressionist group. During World War I, Ritcher encountered a group of Dadaists in Switzerland......
2. Apparently knowing little of commercial animation techniques, Ruttmann painted with oil on glass, wiping off portions of the wet paint and repainting them. He photographed each change from above illumination placed beneath the glass.
3. By 1922, it was in serious decline, but key Dada films were still to come. In late 1924, Dada artist Francis Picabia staged his ballet Re/ache (meaning "performance called off"). Signs in the auditorium bore such statements as "if you are not satisfied, go to hell." During the intermission (or entr'acte), Rene Clair's short film Entr'acte was shown.
4. Germain Dulac, who had had already worked extensively in regular feature filmmaking and French Impressionism, turned briefly to Surrealism, directing a screenplay by poet Antonin Artaud. The result was The Seashell and the Clergyman (1928), which combines Impressionist techniques of cinematography with the disjointed narrative logic of Surrealism.
5. These diverse, widely scattered filmmakers wanted to reduce film to its most basic elements in order to create lyricism and pure form. Indeed, French proponents of this approach soon termed it cinema pur.
6. Some filmmakers experimented by taking their cameras outdoors and capturing poetic aspects of urban landscapes. Their films formed another new genre, the city symphony.
7. In specialized journals and the general press, Deren promoted avant-grade cinema. She distinguished between a "horizontal" cinema that emphasizes action and plot and a "vertical" cinema that "probes the ramifications of the moment," emphasizing not what is happening but "what it feels like or means."
8. Here the filmmaker seeks to capture a personal perception or emotion, much as a poet conveys a flash of insight in a brief lyric. The film lyric aims to convey a sensation or a mood directly, with little or no recourse to narrative structure.
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