汉斯·里希特，《Rhythmus 21》

　　汉斯·里希特(1888年4月6日生于柏林-1976年2月1日卒于瑞士)最初其绘画深受表现主义影响。1918年的时候，里希特认识了维京·埃格琳。很快，里希特就发现他们俩面临着类似的问题。他谦虚的承认埃格琳已经领先他了，说后者已经成功的“建立起了完整的句子，而他才开始学习ABC”。里希特关于对位的音乐原则的研究以三个短片的形式达到高潮：《节奏21》《节奏23》和《节奏25》。它们用移动，反复再现然后消失，拼剪方形矩形。里希特的短片都不如埃格琳《对角线交响乐》那般具有大家风范。

　　和埃格琳一样，里希特将动画艺术视为一种符号。在和特奥·凡·杜斯伯格进行了深入讨论之后，里希特开始创作他的第一部电影《节奏21》。《节奏21》是以形为基础的，而里希特的《节奏23》刚好与前者相反，是以线为本。《节奏23》于1923年7月6日在巴黎首映。里希特之前曾一次又一次的用色彩实验，但最终放弃。他精心手绘了《节奏25》里的图像，因此此片只有一个拷贝。遗憾的是，现在那个仅存的拷贝也不复存在了。

　　Hans Richter (6 April 1888, Berlin – 1 February 1976, Minusio, Switzerland) was at first influenced in his painting by Expressionism. When he met Viking Eggeling in 1918, he soon found they were grappling with similar problems. He admitted in all modesty that Eggeling was already way ahead of him, having succeeded in “building a whole syntax of formal elements, where I had only just begun with the ABC”. Richter’s study of the musical principles of counterpoint culminated in three shorts: RHYTHMUS 21, RHYTHMUS 23 and RHYTHMUS 25. They were made using moving, repeatedly reappearing and disappearing cut-out squares and rectangles.

　　Like Eggeling, Richter regarding animation as a form of notation and—like some of his contemporaries – used long scrolls of paper for the purpose. After in-depth discussions with Theo van Doesburg, Richter began making his first film, RHYTHMUS 21, taking as its starting point not picture rolls, but the film screen or rather the frame of the film image. In contrast to shapes-based RHYTHMUS 21, his RHYTHMUS 23, which premiered in Paris on 6 July 1923, is based on the play of lines. Richter had previously experimented with colour again and again, and then given up on it. But he elaborately hand-coloured RHYTHMUS 25; this is why there was only one copy, which is, unfortunately, no longer extant.