Richter
1. Following the war Europe remained in a state of economic, social, political and cultural unrest. Since many had revolted against the current regime there was a collection of open mindedness that brought about readjustment to new standards. Inflation was also a factor as many lived their lives full speed up until the end of '29.
Along with these new ideas came an opposition against the conventional film routines. The technical aspect had made great strides but film still fell behind the times artistically. Filmmakers found that the "soul of the camera" could be brought out if the film did not focus exclusively on the actor, the novel and the play. This lead to exploration of the nature of lenses, and artistic possibilities of the emulsion, variations in speed and rhythm as well what was and was not possible mechanically; described as the "spirit of the machine."
The artistic climate in Europe also contributed to the rise of cinema in Europe. Modern art was becoming a bigger influence on other modes of expression and since film was a younger art with no artistic tradition it was only a matter of time before film became "infected" with these ideas as well. This influence came from two sides; Abstract Art and Cubism.
Lastly, during these times there were huge advances in mechanical and energetic-al technique and gradually people became aware that these machines did not just bring products and comfort but brought about a different appeal to life. In a way this brings hope to a generation that is looking forward, as every generation does.

2. According to Richter, the goal of abstract art is to was to "overcome pure individualistic emotional expression and to find instead the way for the expression of universal feeling." The term "Abstract Art" itself became elimination of the uncontrolled, creation of norms, and control of the whole.

Fischinger

3. Fischinger believes that "there is nothing of an absolute artistic creative sense" in conventional cinematography because most films are just "photographed realism, photographed surface realism in motion." He believes that this is solely a copy of nature and requires little or no creative force. Fischinger also believes that it is impossible for a single artist to create pure work of film-art because of the amount of players involved in its creation. With the amount of staff involved how could ones specific-artistic view show through? It can't because staff influence would slowly kill the artists original intent.

Sitney

4. Sitney believes that Reflections on Black was an anticipation of lyrical film because he "attacked" the surface of the film with materials that reflect back on the conditions of filmmaking. He goes on to say that Brakhage begins to "formulate an equation between the process of making film and the search for consciousness."

7. Sitney describes hard and soft montage as being used in the film Anticipation of the Night. I think he means that soft-montage is being used when the colors preview the forthcoming image. So hard-montage would be the use of hard contrasting images that flow from one two another (i.e. night and day.)

9. Bruce Baillies films, like Brakhages, tend to deal with the argument between consciousness and nature. Brailles films, however, contain dialogue that lies outside of the film itself. Both aimed in their later work to push towards impersonal or unqualified consciousness.