Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles

Abstract

This chapter focuses on Leni’s eight-part short film series, Rebus-Film (1925-26), and the ways that it relates to various avant-garde art movements of the 1910s and 1920s. Using Rebus-Film Nr. 1 as a starting point, the essay analyses the series’ connections to contemporaneous artistic movements such as Cubism, Futurism, and Dada and to cinematic styles and genres of the time, including Soviet montage and the ‘City Symphony’ films. To supplement this analysis, the essay draws upon reviews, trade magazine articles, and other written records from the period. This chapter sheds light on the ways that critics and audiences received the films and regarded Leni’s use of experimental aesthetic styles. While it is debatable as to whether Leni considered himself a modern art practitioner, a close reading of these short films shows that they are in dialogue with the visual avant-garde. This chapter also discusses the ways that the series fits into, and extends, Leni’s German and American careers.