FILM STUDY

An attempt to combine Dadaist aesthetics and abstraction, the film presents the viewer with a disorientating collage of uncanny false eyeballs, distorted faces and abstract forms.

Not unlike Edgar Rubin’s vase, Hans Richter’s black-and-white short separates out something from nothing, his bi-stable optical illusion constantly shifting, moving freely from one association to the inevitable next. Consistent throughout is one recurring motif: the human eye.