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本科毕业设计（论文） 外文文献 (此文档为word格式,下载后您可任意修改编辑!) 文献出处： Cowan, M. Absolute advertising: Walter ruttmann and the weimar advertising film [J] Cinema Journal, 2015,52(4), 49-73. Absolute Advertising: Walter Ruttmann and the Weimar Advertising Film Cowan, M Examining Walter Ruttmanns early animated advertisements in relation both to his Opus films and to contemporary advertising psychology, this article argues that advertising, far from representing a marginal phenomenon or a compromise of artistic integrity, was central to Ruttmanns professional identity as an avant-garde filmmaker. In so doing, I also seek to reframe our understanding of abstract animation in the 1920s as a form profoundly compatible with capitalist modernity and its regulation of perception. Through their combination of abstraction and figuration, Ruttmanns advertisements sought to incorporate contemporary theories of advertising pleasure and activate spectatorial competencies specific to the newly commodified spheres of post-World War I Germany. While designations such as absolute film or cinema pur once served to associate the experimental film culture of the 1920s with a modernist nar- rative of artistic autonomy and medium specificity, recent research has tended to sketch a more complex picture. Hardly a unified group, avant- garde filmmakers pursued a number of divergent agendas, many of them directly engaging with forms of mass culture and deeply imbricated in the financial and political interests of their time. As Esther Leslie has shown, the emergence of ab- stract animation in the work of Hans Richter, Walter Ruttmann, Lotte Reiniger and others cannot be understood without taking into account the widespread fasci- nation, among avant-garde artists and critical theorists alike, with the mass cultural form of cartoons.1 From a financial perspective, moreover, the very notion of an autonomous avant-garde film culture appears paradoxical when one recalls the critical role of institutions such as H