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Dp-Metropolis-Version-Longue.Pdf
LE PLUS GRAND FILM DE SCIENCE-FICTION DE TOUS LES TEMPS POUR LA 1ÈRE FOIS DANS SA VERSION INTÉGRALE LE CHEf-d’œuvrE DE FRITZ LANG UN FILM DE FRITZ LANG AVEC BRIGITTE HELM, ALFRED ABEL, GUSTAV FRÖHLICH, RUDOLF KLEIN-ROGGE, HEINRICH GORGE SCÉNARIO THEA VON HARBOU PHOTO KARL FREUND, GÜNTHER RITTAU DÉCORS OTTO HUNTE, ERICH KETTELHUT, KARL VOLLBRECHT MUSIQUE ORIGINALE GOTTFRIED HUPPERTZ PRODUIT PAR ERICH POMMER. UN FILM DE LA FRIEDRICH-WILHELM-MURNAU-STIFTUNG EN COOPÉRATION AVEC ZDF ET ARTE. VENTES INTERNATIONALES TRANSIT FILM. RESTAURATION EFFECTUÉE PAR LA FRIEDRICH-WILHELM-MURNAU-STIFTUNG, WIESBADEN AVEC LA DEUTSCHE KINE MATHEK – MUSEUM FÜR FILM UND FERNSEHEN, BERLIN EN COOPÉRATION AVEC LE MUSEO DEL CINE PABLO C. DUCROS HICKEN, BUENOS AIRES. ÉDITORIAL MARTIN KOERBER, FRANK STROBEL, ANKE WILKENING. RESTAURATION DIGITAle de l’imAGE ALPHA-OMEGA DIGITAL, MÜNCHEN. MUSIQUE INTERPRÉTÉE PAR LE RUNDFUNK-SINFONIEORCHESTER BERLIN. ORCHESTRE CONDUIT PAR FRANK STROBEL. © METROPOLIS, FRITZ LANG, 1927 © FRIEDRICH-WILHELM-MURNAU-STIFTUNG / SCULPTURE DU ROBOT MARIA PAR WALTER SCHULZE-MITTENDORFF © BERTINA SCHULZE-MITTENDORFF MK2 et TRANSIT FILMS présentent LE CHEF-D’œuvre DE FRITZ LANG LE PLUS GRAND FILM DE SCIENCE-FICTION DE TOUS LES TEMPS POUR LA PREMIERE FOIS DANS SA VERSION INTEGRALE Inscrit au registre Mémoire du Monde de l’Unesco 150 minutes (durée d’origine) - format 1.37 - son Dolby SR - noir et blanc - Allemagne - 1927 SORTIE EN SALLES LE 19 OCTOBRE 2011 Distribution Presse MK2 Diffusion Monica Donati et Anne-Charlotte Gilard 55 rue Traversière 55 rue Traversière 75012 Paris 75012 Paris [email protected] [email protected] Tél. : 01 44 67 30 80 Tél. -
Close-Up on the Robot of Metropolis, Fritz Lang, 1926
Close-up on the robot of Metropolis, Fritz Lang, 1926 The robot of Metropolis The Cinémathèque's robot - Description This sculpture, exhibited in the museum of the Cinémathèque française, is a copy of the famous robot from Fritz Lang's film Metropolis, which has since disappeared. It was commissioned from Walter Schulze-Mittendorff, the sculptor of the original robot, in 1970. Presented in walking position on a wooden pedestal, the robot measures 181 x 58 x 50 cm. The artist used a mannequin as the basic support 1, sculpting the shape by sawing and reworking certain parts with wood putty. He next covered it with 'plates of a relatively flexible material (certainly cardboard) attached by nails or glue. Then, small wooden cubes, balls and strips were applied, as well as metal elements: a plate cut out for the ribcage and small springs.’2 To finish, he covered the whole with silver paint. - The automaton: costume or sculpture? The robot in the film was not an automaton but actress Brigitte Helm, wearing a costume made up of rigid pieces that she put on like parts of a suit of armour. For the reproduction, Walter Schulze-Mittendorff preferred making a rigid sculpture that would be more resistant to the risks of damage. He worked solely from memory and with photos from the film as he had made no sketches or drawings of the robot during its creation in 1926. 3 Not having to take into account the morphology or space necessary for the actress's movements, the sculptor gave the new robot a more slender figure: the head, pelvis, hips and arms are thinner than those of the original. -
Filmarchiv Austria Beleuchtet Diesen Kaum Bekannten Teil Der Österreichischen Filmgeschichte Und Präsentiert Zahlreiche Objekte Und Dokumente Aus Der Eigenen Sammlung
10—11/2019 KINO KULTUR HAUS UNERWÜNSCHTES KINO AUSSTELLUNG UND RETROSPEKTIVE V’19: DER WEIBLICHE BLICK – LOUISE KOLM-FLECK | BRDDR INHALT 04 24 58 34 INHALT AUSSTELLUNG UNERWÜNSCHTES KINO | 17.10.2019–31.1.2020 04 RETROSPEKTIVEN UNERWÜNSCHTES KINO – TEIL 1: FILME VOR DER VERTREIBUNG | 17.10.–2.12. 10 V’19: DER WEIBLICHE BLICK – LOUISE KOLM-FLECK | 27.10.–1.11. 24 BRDDR | 9.11.–3.12. 34 KINOSTARTS BEWEGUNGEN EINES NAHEN BERGS PERSONALE SEBASTIAN BRAMESHUBER 18.10.–23.10. 54 HEIMAT IST EIN RAUM AUS ZEIT | 8.11.–28.11. 58 FILM | UNIVERSITÄT TAKING THE RED PILL | 21.10. 60 DIE BIBEL IM FILM | 11.11.–2.12. 62 JEWISH FILM NOIR | 12.11.–3.12. 64 REIHEN SECOND LIFE | 22.10.–3.12. 66 WILD FRIDAY NIGHT | 8.11. 68 KINDER KINO KLASSIKER | 10.11.–1.12. 70 LIVING COLLECTION | 11.11. 72 JÜDISCHER FILMCLUB WIEN | 13.11. 74 SPECIALS TRANSIT | 23.10. 76 BUCH WIEN: NORBERT GSTREIN | 9.11. 78 DVD-PRÄSENTATION: TIERE IM FILM | 28.11. 80 FESTIVALS MITTELAMERIKANISCHES FILMFESTIVAL | 15.11.–22.11. 82 VIENNATHENS | 25.11.–27.11. 84 ART VISUALS & POETRY FILM FESTIVAL | 29.11.–1.12. 86 SATYR FILMWELT 88 CLUB 94 SPIELPLAN 96 PROGRAMM 17.10.–3.12.2019 Franziska Gaal, Hans Jaray und Karl Paryla in FRÄULEIN LILLI (Robert Wohlmuth, A 1936) EDITORIAL s ist ein wenig beachtetes Kapitel in der österreichischen EFilm- und Zeitgeschichte: Mit der Vertreibung von jüdischen Filmschaffenden aus Nazi-Deutschland werden Wien und Buda- pest zu den Hauptstädten einer unabhängigen Produktions- landschaft. Unerwünschtes Kino, die neue Ausstellung im METRO Kinokulturhaus, beleuchtet Protagonisten und Werke dieser kurzen, aber ereignisreichen Periode des deutschspra- chigen Exilfilms. -
Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
GLOBUS-FILM Hanns-Braun-Str
DerDer RRebellebell Ein Film von Luis Trenker Darsteller Stab Luise Ullrich - Fritz Kampers - Victor Varconi - Regie ...............................................................Luis Trenker Erika Dannhoff - Ludwig Stoessel - Reinhold Bernt Kamera ................................... Sepp Allgeier, Albert Benitz, - Albert Schultes und vielen Südtiroler und Tiroler ...................................Willy Goldberg und Reimar Kuntze Bergführern und Bergbauern Musik .........................................................Giuseppe Becce Schlagzeilen Technische Daten Der junge Luis Trenker in der Titelrolle, ein listiger, drauf- Länge ...............................................................2530 Meter gängerischer Rebell, ein Patriot für Tirol! Laufzeit........................................................... 91 Minuten Aktuell wie nie zuvor! Format..................................................................... 35 mm Ein junger Student führt seine Landsleute in den Kampf ge- Bild.............................................................................. S/W gen Besatzungssoldaten für Freiheit und Gerechtigkeit! Produktionsjahr .......................................................... 1932 Männern wie „Der Rebell“ ist die Freiheit mehr wert als das Herstellungsland............................................. Deutschland Leben! FSK .............................................................. ab 12 Jahren Inhalt Werbematerial Luis Trenker, der Südtiroler Naturbursche, der Dank der Weitsicht Aushangfotos der von ihm so geliebten -
(Bab El Hadid)/ Tatort Cairo Station
BESTAND FILMFOTOGRAFIE TWS SCHLOSS WAHN FF 291 ORIGINALTITEL Bab El Hadid VORLAGETITEL Cairo Station (Bab El Hadid)/ Tatort Cairo Station LAND Ägypten PRODUKTIONSJAHR 1958 REGIE Chahine, Youssef PRODUKTION Gabriel Talhami Productions VERLEIH keine Angaben ABGEBILDETE PERSONEN Youssef Chahine, Hind Rostom, Farid Chawki, Jack Warden FOTOGRAFEN ODER ATELIERS unbekannt SW-ABZÜGE 15 FARBABZÜGE 0 POSTKARTEN 0 SW-TRANSPARENTE 0 SAMMELBILDER 0 FARBTRANSPARENTE 0 DRUCKERZEUGNISSE 0 ZUSTAND ohne Beanstandung NORMALFORMAT (FFN) 15 GROSSFORMAT (FFG) 0 ANMERKUNGEN AUFDRUCKE: Titel, Namen der mitwirkenden Personen, Produktionsfirma (Rückseite) BEILAGE: Originalumschlag der Fotografien Dazugehöriges FILMPLAKAT im Bestand der TWS vorhanden. PROVENIENZ unbekannt ALTE INV.-NR.: keine BESTAND FILMFOTOGRAFIE TWS SCHLOSS WAHN FF 149 ORIGINALTITEL Babe Comes Home VORLAGETITEL Babe Comes Home LAND USA PRODUKTIONSJAHR 1927 REGIE Wilde, Ted PRODUKTION First National Pictures VERLEIH First National Pictures ABGEBILDETE PERSONEN Babe Ruth, Anna Q. Nilson FOTOGRAFEN ODER ATELIERS unbekannt SW-ABZÜGE 1 FARBABZÜGE 0 POSTKARTEN 0 SW-TRANSPARENTE 0 SAMMELBILDER 0 FARBTRANSPARENTE 0 DRUCKERZEUGNISSE 0 ZUSTAND ohne Beanstandung NORMALFORMAT (FFN) 1 GROSSFORMAT (FFG) 0 ANMERKUNGEN BESCHRIFTUNGEN: Titel und alternativer Titel (Rückseite, Bleistift) AUFKLEBUNGEN: Inhaltsangabe, Namen der dargestellten Personen (Rückseite, als Bildnebentext ausklappbar) WEITERER TITEL: Babe Ruth PROVENIENZ unbekannt ALTE INV.-NR.: keine BESTAND FILMFOTOGRAFIE TWS SCHLOSS WAHN FF 150 ORIGINALTITEL -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
Present and Future Urban Spaces Cinematically Considered
Exploding Spaces Present and Future Urban Spaces Cinematically Considered University of Cape Town lan-Malcolm Rijsdijk The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town [Abstract] Urban visions in contemporary film considered to be science fiction are, in fundamental ways, not extrapolations from (or even analogies with) the present, but rather derive their extrapolative impetus from the confluence of urban utopianism and the development of the film medium in the first three decades of the twentieth century. This study seeks to understand the visual dynamics of contemporary science fiction cities in film by exploring a number of diverse architectural and cinematic influences. The argument is initiated through a consideration of utopianism and science fiction, before moving onto specific architectural analysis focused on utopian plans from the modernist period, and the growth of New York during the 1920s. Through a brief reading of German Expressionist Cinema in Chapter 3, the spatial and architectural groundwork is laid for the analysis of several films in Chapters 4-6: Disclosure, Blade Runner, Selen, The Devil's Advocate, 12 Monkeys and The Fifth Element. (While not all the films would be considered as science fiction, those non-science fiction films offer provocative readings of the city as a whole). -
The Film Music of Edmund Meisel (1894–1930)
The Film Music of Edmund Meisel (1894–1930) FIONA FORD, MA Thesis submitted to The University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis discusses the film scores of Edmund Meisel (1894–1930), composed in Berlin and London during the period 1926–1930. In the main, these scores were written for feature-length films, some for live performance with silent films and some recorded for post-synchronized sound films. The genesis and contemporaneous reception of each score is discussed within a broadly chronological framework. Meisel‘s scores are evaluated largely outside their normal left-wing proletarian and avant-garde backgrounds, drawing comparisons instead with narrative scoring techniques found in mainstream commercial practices in Hollywood during the early sound era. The narrative scoring techniques in Meisel‘s scores are demonstrated through analyses of his extant scores and soundtracks, in conjunction with a review of surviving documentation and modern reconstructions where available. ii Acknowledgements I would like to thank the Arts and Humanities Research Council (AHRC) for funding my research, including a trip to the Deutsches Filminstitut, Frankfurt. The Department of Music at The University of Nottingham also generously agreed to fund a further trip to the Deutsche Kinemathek, Berlin, and purchased several books for the Denis Arnold Music Library on my behalf. The goodwill of librarians and archivists has been crucial to this project and I would like to thank the staff at the following institutions: The University of Nottingham (Hallward and Denis Arnold libraries); the Deutsches Filminstitut, Frankfurt; the Deutsche Kinemathek, Berlin; the BFI Library and Special Collections; and the Music Librarian of the Het Brabants Orkest, Eindhoven. -
Cinema Ritrovato Di Gian Luca Farinelli, Vittorio Martinelli, Nicola Mazzanti, Mark-Paul Meyer, Ruud Visschedijk
Cinema Ritrovato di Gian Luca Farinelli, Vittorio Martinelli, Nicola Mazzanti, Mark-Paul Meyer, Ruud Visschedijk Iniziamo dalla foto che abbiamo scelto per il manifesto, perché è un’immagine rivelatrice dell’identità di questo festival. Ad un primo sguardo non suscita un interesse particolare. È la foto di scena di un film qualsiasi prodotto in un periodo in cui di cinema se ne faceva tanto, un’immagine come tante. Però se la guardiamo meglio vediamo che al centro della foto c’è uno dei grandi attori del cinema italiano, Aldo Fabrizi, il Don Pietro di Roma città aperta, alle prese con la giustizia. Ci accorgiamo anche che il set è il lato sud di Piazza Maggiore; si scorgono il Palazzo del Podestà, San Petronio, il Nettuno, Palazzo de’ Banchi. L’immagine inizia a intrigarci. Siccome il cinema italiano è da sempre fortemente romano, pochissimi sono stati i film girati a Bologna, almeno sino agli anni ’60. Ecco perché Hanno rubato un tram, il film da cui abbiamo sottratto quest’immagine, è una vera scoperta che ci giunge dal passato. Nonostante si tratti di una piccola produzione, di un film modesto, di cui all’epoca nessuno si accorse, poterlo vedere oggi è un’esperienza straordinaria perché ci porta nella Bologna di quarantasei anni fa e ci fa sentire tutta la distanza del tempo, le dimensioni della trasformazione, l’ampiezza dei cambiamenti, esperienza tanto più forte perché si tratta di immagini inaspettate di un film dimenticabile, che nessuno vedeva più da decenni. Il film è anche un curioso incontro tra generazioni diverse del cinema italiano. -
Film Front Weimar’ 30-10-2002 14:10 Pagina 1
* pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3 -
The Stage of the Mountains
Leopold- Franzens Universität Innsbruck The Stage of the Mountains A TRANSNATIONAL AND HISTORICAL SURVEY OF THE MOUNTAINS AS A STAGE IN 100 YEARS OF MOUNTAIN CINEMA Diplomarbeit Zur Erlangung des akademischen Grades eines Mag. phil. an der Philologisch- Kulturwissenschaftlichen Fakultät der Leopold-Franzens-Universität Innsbruck Eingereicht bei PD Mag. Dr. Christian Quendler von Maximilian Büttner Innsbruck, im Oktober 2019 Eidesstattliche Erklärung Ich erkläre hiermit an Eides statt durch meine eigenhändige Unterschrift, dass ich die vorliegende Arbeit selbständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Magister- /Master-/Diplomarbeit/Dissertation eingereicht. ______________________ ____________________________ Datum Unterschrift Table of Contents Acknowledgments .................................................................................................................... 4 Introduction .............................................................................................................................. 1 Mountain Cinema Overview ................................................................................................... 4 The Legacy: Documentaries, Bergfilm and Alpinism ........................................................... 4 Bergfilm, National Socialism and Hollywood