Richter\'s position in the art world was unique. As one of the earliest exponents of Dada, he was also one of the first to recognize the new possibilities cinematography offered the artist. He participated in the first avant-garde film movement alongsideBy film I mean visual rythm... to see movement, organized movement, wakes us up, wakes up resistance, wakes up the reflexes, and perhaps wakes up our sense of enjoyment as well. This kind of film gives memory nothing to hang on. At the mercy of "feeling", reduced to going with the rhythm according to the successive rise and fall of the breath and the heartbeat, we are given a sense of what feeling and perceiving really is: a process - MOVEMENT." -Hans Richter 1924

Richter's position in the art world was unique. As one of the earliest exponents of Dada, he was also one of the first to recognize the new possibilities cinematography offered the artist. He participated in the first avant-garde film movement alongside Léger, Duchamp, Man Ray, Picabia, Cocteau and Dali, and later in New York his teachings would influence many of the "New American Cinema" filmmakers.

Includes:

- Rhythmus 21 (1921) Silent 4'
- Rhythmus 23 (1923) Silent 4'
- Filmstudie (1926) 5'
- Ghosts Before Breakfast Vormittagsspuk (1927-28) 7'
- Race Symphony (1928-29) 7'
- Two Pence Magic Zweigroschenzauber (1928-29) 2'
- Inflation (1927-28) 3'
- Everything Turns Everything Revolves * Alles Dreht Sich, Alles Bewegt Sich (1929)