In Hans Richter's 1928 experimental film Vormittagsspuk [Morning Spook, aka Ghosts Before Breakfast], four bowler hats appear to come to life. Carried by invisible forces, the hats float in the air in defiance of gravity. A number of confused bystanders unsuccessfully attempt to identify and grasp the hats' disembodied carriers. Other ghostly presences haunt the film: invisible hands cock guns, windows spontaneously burst open, water hoses unfurl themselves, and coffee magically flows into cups. Mirroring Richter's orchestration of dazzling visual rhythms through negative images, reverse motion, and trick shots, the film's eerie subjects resist any linear narratives. Because the ghosts are invisible, their actions seem...
Book Review: Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics by Elizabeth Otto
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Francesca Ferrari; Book Review: Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics by Elizabeth Otto. Afterimage 1 September 2020; 47 (3): 112–116. doi: https://doi.org/10.1525/aft.2020.473010
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