The Dance of Abstract Cinema
As a moving art, cinema was linked to dance from its earliest moments and, like dance, held an idealized position for artists of the avant-garde, from the serpentine dance films of Edison and the Lumière brothers to the abstract cinema of the interwar avant-garde. At either end, whether filming a dancing body or creating abstract montages, cinema strove to express, not a new formal image on the flat screen but the dancing effects (and affects) of motion itself. This chapter follows a series of early twentieth-century artistic engagements with cinematic abstraction. Despite varying levels of formal abstraction and representational imagery, these films are no longer concerned with reproducing a world to look upon but now an environment to look through with kinesthetic sensation and desire. In a particularly rich case, Germaine Dulac, outwardly indebted to the dance of Loïe Fuller, became her successor in choreographic cinema, engaging the multisensory body through the medium of abstraction.