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Shadows creep like stealthy clouds over blue panels. Wooden elements revolve and thrust by subtle fits and starts in a slow bedstead-dance between heaven and earth. The application of manual energy results in gawky movement. A logical extension of this is the almost nervy way in which the fixed camera position is finally broken. By leaving sound out too, a definitive impression is given that an artistic headmaster has been busy with the children of his class sawing, hammering and painting, and that the results of his labours have been filmed with an 8mm camera while being moved about by the children. The fact that Walter Ruttmann's revolutionary work of the twenties looks so like the charming but false naïvety of today shows that little is new even under this sun.
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Pim Felen
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