Oskar Wilhelm Fischinger (22 June 1900 – 31 January 1967) was a German-American abstract animator, filmmaker, and painter.
He made over 50 short films, and painted around 800 canvases, many of which are in museums, galleries and collections worldwide.
Among his film works is Motion Painting No. 1 (1947), which is now listed on the National Film Registry of the U.S. Library of Congress.
He invented a "Wax Slicing Machine", which synchronized a vertical slicer with a movie camera's shutter, enabling the efficient imaging of progressive cross-sections through a length of molded wax and clay.
Fischinger apprenticed at an organ-building firm after he finished school until the owners were drafted into the war. Fischinger attended a trade school and worked as an apprentice, eventually obtaining an engineer's diploma.
In Frankfurt, Fischinger met the theatre critic Bernhard Diebold, who in 1921 introduced Fischinger to the work and personage of Walter Ruttmann, a pioneer in abstract film. Inspired by Ruttmann's work, Fischinger began experimenting with colored liquids and three-dimensional modelling materials such as wax and clay.
Upon arriving in Hollywood in February 1936, Fischinger was given an office at Paramount, German-speaking secretaries, an English tutor, and a weekly salary of $250.
He prepared a film which was originally named Radio Dynamics, tightly synchronized to Ralph Rainger's tune "Radio Dynamics". This short film was planned for inclusion in the feature film The Big Broadcast of 1937 (1936).
He made over 50 short films, and painted around 800 canvases, many of which are in museums, galleries and collections worldwide.
Among his film works is Motion Painting No. 1 (1947), which is now listed on the National Film Registry of the U.S. Library of Congress.
He invented a "Wax Slicing Machine", which synchronized a vertical slicer with a movie camera's shutter, enabling the efficient imaging of progressive cross-sections through a length of molded wax and clay.
Fischinger apprenticed at an organ-building firm after he finished school until the owners were drafted into the war. Fischinger attended a trade school and worked as an apprentice, eventually obtaining an engineer's diploma.
In Frankfurt, Fischinger met the theatre critic Bernhard Diebold, who in 1921 introduced Fischinger to the work and personage of Walter Ruttmann, a pioneer in abstract film. Inspired by Ruttmann's work, Fischinger began experimenting with colored liquids and three-dimensional modelling materials such as wax and clay.
Upon arriving in Hollywood in February 1936, Fischinger was given an office at Paramount, German-speaking secretaries, an English tutor, and a weekly salary of $250.
He prepared a film which was originally named Radio Dynamics, tightly synchronized to Ralph Rainger's tune "Radio Dynamics". This short film was planned for inclusion in the feature film The Big Broadcast of 1937 (1936).
In 1924, Fischinger was hired by American entrepreneur Louis Seel to produce satirical cartoons that tended toward mature audiences. "In 1926 and 1927, Fischinger performed his own multiple projector film shows with various musical accompaniments.
Fischinger died in Los Angeles in 1967. A great deal of inaccurate information continues to be published about Fischinger, largely taken from decades-old sources, often repeated online.
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