My re-make of a lost Hans Richter film. Excerpt from Hans Richter by Richard Suchenski in Senses of Cinema (Great Directors, Issue 49): Richter began work on his final abstract film, eventually titled Rhythmus 25, late in 1923. After creating a scroll, Orchestration der Farbe (Orchestration of Color, 1923), that he could use as a model, Richter hand-painted every frame of the film, using colour as another contrast to heighten the tension of the movement of squares, lines, and bands. Since the hand-colouring was extremely expensive, Richter produced only one film print which, unfortunately, has not survived. In an unpublished monograph, however, Richter explains his intended colour scheme for the film: "Between green and red are all the colors, as between black and white is all the light. The scientifically denominated elementary colors, blue, red, and yellow, do not have, aesthetically speaking, an absolute distance from each other. Red and yellow are nearer (warm); blue is opposite of yellow as well as of red; whereas green and red are incomparably unequal to each other… All other colors I consider more or less variations."
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