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Eine Reise durch das künstlerische, intellektuelle und kulturpolitische Leben in Europa. Metropolis - RijekaOlga Tokarczuk / Katharina Grosse / Christian Petzold. Dieses Programm ist leider nicht mehr verfügbar. Die neuesten Videos aus der. „Metropolis“ nimmt die Aufforderung der Documenta-Macher ernst - und reist in die griechische Hauptstadt, um es herauszufinden. Themen: * (1): Metropole. Terminplaner für alle arte-Sendetermine im Fernsehen: · So – – 27 27 Folge · So . 13 · Folge 91 NEU. So – , – arte. Metropolis Spezial. So – · · –

metropolis arte

Terminplaner für alle arte-Sendetermine im Fernsehen: · So – – 27 27 Folge · So . 13 · Folge 91 NEU. So – , – arte. Metropolis Spezial. So – · · – Meisterwerk "Metropolis" bringt Arte viele Zuschauer. Für viele Schlagzeilen sorgte die restaurierte Fassung des Stummfilm-Meisterwerks "​.

In its place advance the oppressed producers of the head and hand, the forces of Labor, to begin their historical mission".

German cultural critic Siegfried Kracauer later wrote of Metropolis , "The Americans relished its technical excellence; the English remained aloof; the French were stirred by a film which seemed to them a blend of [composer] Wagner and [armaments manufacturer] Krupp , and on the whole an alarming sign of Germany's vitality.

Lang later expressed dissatisfaction with the film. The main thesis was Mrs. Von Harbou's, but I am at least 50 percent responsible because I did it.

I was not so politically minded in those days as I am now. You cannot make a social-conscious picture in which you say that the intermediary between the hand and the brain is the heart.

I mean, that's a fairy tale—definitely. But I was very interested in machines. Anyway, I didn't like the picture—thought it was silly and stupid—then, when I saw the astronauts: what else are they but part of a machine?

It's very hard to talk about pictures—should I say now that I like Metropolis because something I have seen in my imagination comes true, when I detested it after it was finished?

In his profile of Lang, which introduced the interview, Bogdanovich suggested that Lang's distaste for his film also stemmed from the Nazi Party's fascination with it.

Von Harbou became a member of the Party in She and Lang divorced the following year. According to Roger Ebert , " Metropolis is one of the great achievements of the silent era, a work so audacious in its vision and so angry in its message that it is, if anything, more powerful today than when it was made.

The website's critical consensus reads, "A visually awe-inspiring science fiction classic from the silent era. Lane Roth in Film Quarterly called it a "seminal film" because of its concerns with "profound impact technological progress has on man's social and spiritual progress" and concluded that "ascendancy of artifact over nature is depicted not as liberating man, but as subjugating and corrupting him".

Exploring the dramatic production background and historical importance of the film's complex political context in The American Conservative , film historian Cristobal Catalan suggests "Metropolis is a passionate call, and equally a passionate caution, for social change".

The original premiere cut of Metropolis has been lost, and for decades the film could be seen only in heavily truncated edits that lacked nearly a quarter of the original length.

But over the years, various elements of footage have been rediscovered. Two of these negatives were destroyed when Paramount reedited the film for the US market and the UK market.

UFA itself cut the third negative for the August release. Between and , the Staatliches Filmarchiv der DDR , with the help of film archives from around the world, put together a version of Metropolis which restored some scenes and footage, but the effort was hobbled by a lack of a guide, such as an original script, to determine what, exactly, was in the original version.

Moroder's version, which was made in consultation with the Munich Film Archive and their archivist, Enno Patalas , [2] was tinted, featured additional special effects, replaced intertitles of character dialogue with subtitles and incorporated a soundtrack featuring songs composed and produced by Moroder and recorded with popular artists such as Freddie Mercury , Bonnie Tyler , Pat Benatar , Adam Ant and Jon Anderson instead of a traditional score.

It was the first serious attempt made at restoring Metropolis to Lang's original vision, and until the restorations in and , it was the most complete version of the film commercially available; the shorter run time was due to the extensive use of subtitles and a faster frame rate than the original.

Moroder's version of Metropolis generally received poor reviews, to which Moroder responded, telling The New York Times "I didn't touch the original because there is no original.

In August , after years of the Moroder version being unavailable on video in any format due to music licensing problems, it was announced that Kino International had managed to resolve the situation, and the film was to be released on Blu-ray and DVD in November.

In addition, the film enjoyed a limited theatrical re-release. The moderate commercial success of the Moroder version inspired Enno Patalas, the archivist of the Munich Film Archive, to make an exhaustive attempt to restore the movie in Starting from the version in the Museum of Modern Art collection, [85] this version took advantage of new acquisitions and newly discovered German censorship records of the original inter-titles, as well as the musical score and other materials from the estate of composer Gottfried Huppertz.

The Munich restoration also utilized newly rediscovered still photographs to represent scenes that were still missing from the film.

The Munich version was 9, feet, or minutes long. In Friedrich-Wilhelm-Murnau-Stiftung commissioned film preservationist Martin Koerber to create a "definitive" restoration of Metropolis by expanding on the Munich version.

Previously unknown sections of the film were discovered in film museums and archives around the world, including a nitrate original camera negative from the Bundesarchiv-Filmarchiv , as well as nitrate prints from the George Eastman House , the British Film Institute and the Fondazione Cineteca Italiana.

These original film elements, digitally cleaned and repaired to remove defects, were used to assemble the film. Newly written intertitles were used to explain missing scenes.

The restoration premiered on 15 February at the Berlin Film Festival , with a new score by Bernd Schultheis, performed live by the Rundfunk-Sinfonieorchester Berlin.

The running time is minutes at 24 fps, and it was released internationally on various DVD editions beginning in The safety reduction was intended to safeguard the contents in case the original's flammable nitrate film stock was destroyed.

Under the auspices of the Friedrich-Wilhelm-Murnau-Stiftung, Berlin's Deutsche Kinemathek and Museo del Cine, a group of experts, including Anke Wilkening, Martin Koerber, and Frank Strobel began combining the newly discovered footage with the existing footage from the restoration.

A major problem was that the Argentinian footage was in poor condition and had many scratches, streaks, and changes in brightness.

Some of this they were able to overcome with digital technology, which would not have been possible in The reconstruction of the film with the new footage was once again accompanied by the original music score, including Huppertz's handwritten notes, which acted as the key resource in determining the places in which the restored footage would go.

Since the Argentinian print was a complete version of the original, some scenes from the restoration were put in different places than previously, and the tempo of the original editing was restored.

Organ discovered that the print contained scenes missing from other copies of the film. After hearing of the discovery of the Argentine print of the film and the restoration project, Organ contacted the German restorers; the New Zealand print contained 11 missing scenes and featured some brief pieces of footage that were used to restore damaged sections of the Argentine print.

It is believed that the New Zealand and Argentine prints were all sourced from the same master. The newly-discovered footage was used in the restoration project.

Two short sequences, depicting a monk preaching and a fight between Rotwang and Fredersen, were damaged beyond repair.

Title cards describing the action were inserted by the restorers to compensate. The Argentine print revealed new scenes that enriched the film's narrative complexity.

The characters of Josaphat, the Thin Man, and appear throughout the film and the character Hel is reintroduced. The restoration was premiered on 12 February at the Berlin Friedrichstadtpalast.

Huppertz's score was performed by the Berlin Radio Symphony Orchestra, conducted by Frank Strobel, who also re-recorded it for theatrical and home video release.

The performance was a gala screening as part of the 60th Berlinale and had several simultaneous screenings. The Brandenburg Gate screening was also telecast live by the Arte network.

The restoration has a running time of minutes and was released internationally on various DVD and Blu-ray editions beginning in The American copyright for Metropolis lapsed in , which led to a proliferation of versions being released on video.

Along with other foreign-made works, the film's U. Gonzales and as Golan v. Holder , it was ruled that "In the United States, that body of law includes the bedrock principle that works in the public domain remain in the public domain.

Removing works from the public domain violated Plaintiffs' vested First Amendment interests. The case was overturned on appeal to the Tenth Circuit , [93] and that decision was upheld by the U.

Supreme Court on 18 January This had the effect of restoring the copyright in the work as of 1 January The film will remain under copyright in Germany and the rest of the European Union until the end of , 70 years after Fritz Lang's death.

From Wikipedia, the free encyclopedia. Theatrical release poster by Heinz Schulz-Neudamm. Thea von Harbou Fritz Lang uncredited.

Karl Freund Günther Rittau. Silent film German intertitles. The Tower of Babel in Maria's recounting of the biblical story was modeled after this painting by Pieter Brueghel [14].

Giorgio Moroder Freddie Mercury. Giorgio Moroder P. These roles sometimes are incorrectly attributed to Brigitte Helm, since they appear just above her credit line.

In Clute, John and Nicholls, Peter eds. The Encyclopedia of Science Fiction. New York: St. Martin's Griffin. Retrieved 15 May Die besten Kultfilme in German.

Munich, Germany: Heyne Filmbibliothek. Film Portal. Retrieved 10 January The New York Times.

Archived from the original on 16 March Retrieved 23 February French, Lawrence ed. Archived from the original on 9 July The British Museum.

Archived from the original on 11 August Archived from the original on 3 September Retrieved 17 February The Reporter.

Retrieved 31 August State Theater of Bay City. Archived from the original on 9 February Retrieved 9 February Archived from the original on 10 March Retrieved 25 December Archived from the original on 21 August Archived from the original on 4 February Archived from the original on 15 August Retrieved 2 May One Way Static.

Archived from the original on 23 August Light In The Attic Records. The Line of Best Fit. Retrieved 16 October Berliner Kurier.

Archived from the original on 16 October The New Yorker. Rotten Tomatoes. Fandango Media. Retrieved 14 September Archived from the original on 23 November British Film Institute.

September Retrieved 19 December American Conservative. Retrieved 20 November The Guardian. Retrieved 18 February Archived from the original on 9 August Retrieved 25 January Retrieved 17 May Retrieved 9 November The Hollywood Reporter.

Archived from the original on 30 January Retrieved 18 November Kino Lorber. Archived from the original on 5 October Retrieved 16 February Archived from the original on 9 October Die Zeit.

Archived from the original on 24 June Retrieved 28 August Sunday Star Times. New Zealand. Film Comment. Archived from the original on 16 February Ashcroft: Compaint".

Archived from the original on 19 April Retrieved 19 February Archived from the original on 28 September Mabuse the Gambler.

Lang also cast his frequent collaborator Rudolph Klein-Rogge in the role of Rotwang. Mabuse the Gambler , and Die Nibelungen. Shooting of the film was a draining experience for the actors involved due to the demands that Lang placed on them.

For the scene where the worker's city was flooded, Helm and children from the poorest districts of Berlin had to work for 14 days in a pool of water that Lang intentionally kept at a low temperature.

Helm recalled her experiences of shooting the film in a contemporary interview, saying that "the night shots lasted three weeks, and even if they did lead to the greatest dramatic moments—even if we did follow Fritz Lang's directions as though in a trance, enthusiastic and enraptured at the same time—I can't forget the incredible strain that they put us under.

The work wasn't easy, and the authenticity in the portrayal ended up testing our nerves now and then.

For instance, it wasn't fun at all when Grot drags me by the hair, to have me burned at the stake. Once I even fainted: during the transformation scene, Maria, as the android, is clamped in a kind of wooden armament, and because the shot took so long, I didn't get enough air.

UFA invited several trade journal representatives and several film critics to see the film's shooting as parts of its promotion campaign.

Shooting lasted 17 months, with shooting days and 60 shooting nights, and was finally completed on 30 October The effects expert Eugen Schüfftan created pioneering visual effects for Metropolis.

Among the effects used are miniatures of the city, a camera on a swing, and most notably, the Schüfftan process , [32] in which mirrors are used to create the illusion that actors are occupying miniature sets.

This new technique was seen again just two years later in Alfred Hitchcock 's film Blackmail The Maschinenmensch — the robot built by Rotwang to resurrect his lost love Hel — was created by sculptor Walter Schulze-Mittendorff.

A whole-body plaster cast was taken of actress Brigitte Helm, and the costume was then constructed around it.

A chance discovery of a sample of "plastic wood" a pliable substance designed as wood-filler allowed Schulze-Mittendorff to build a costume that would both appear metallic and allow a small amount of free movement.

Gottfried Huppertz composed the film's score for a large orchestra. He drew inspiration from Richard Wagner and Richard Strauss , and combined a classical orchestral style with mild modernist touches to portray the film's massive industrial city of workers.

Huppertz's music played a prominent role during the film's production; the composer often played piano on Lang's set to inform the actors' performances.

Huppertz's score only accompanied the film once, at its original premiere. The score was not recorded until , for the film's first comprehensive restoration, with Berndt Heller conducting the Rundfunksinfonieorchester Saarbrücken.

It was released internationally on various DVD editions beginning in For the film's "complete" restoration premiere, Huppertz's score was performed live and subsequently re-recorded by the Berlin Radio Symphony Orchestra , conducted by Frank Strobel.

At the time of its German premiere, Metropolis had a length of 4, metres, which is approximately minutes at 24 frames per second fps.

Considering that Metropolis was too long and unwieldy, Parufamet commissioned American playwright Channing Pollock to write a simpler version of the film that could be assembled using the existing material.

Pollock shortened the film dramatically, altered its inter-titles and removed all references to the character of Hel, because the name sounded too similar to the English word Hell , thereby removing Rotwang's original motivation for creating his robot.

Pollock said about the original film that it was "symbolism run such riot that people who saw it couldn't tell what the picture was about.

I have given it my meaning. Their experts have slashed my best film, Metropolis , so cruelly that I dare not see it while I am in England.

In Pollock's cut, the film ran for 3, metres, or approximately minutes—although a contemporary review in Variety of a showing in Los Angeles gave the running time as minutes, [4] and another source lists it at minutes.

Alfred Hugenberg , a German nationalist businessman, cancelled UFA's debt to Paramount and Metro-Goldwyn-Mayer after taking charge of the company in April , and chose to halt distribution in German cinemas of Metropolis in its original form.

Hugenberg had the film cut down to a length of 3, metres about minutes , broadly along the lines of Pollock's edit, removing the film's perceived "inappropriate" communist subtext and religious imagery.

Hugenberg's cut of the film was released in German cinemas in August Later, after demands for more cuts by Nazi censors , UFA distributed a still shorter version of the film 2, metres, 91 minutes in , and an English version of this cut was archived in the Museum of Modern Art MoMA film library in the s.

It was this version which was the basis of all versions of Metropolis until the recent restorations.

In it was recopied and returned to Germany to be the basis of the Munich Archive restoration. Despite the film's later reputation, some contemporary critics panned it.

In The New Yorker Oliver Claxton called Metropolis "unconvincing and overlong", faulting much of the plot as "laid on with a terrible Teutonic heaviness, and an unnecessary amount of philosophizing in the beginning" that made the film "as soulless as the city of its tale".

He also called the acting "uninspired with the exception of Brigitte Helm". Nevertheless, Claxton wrote that "the setting, the use of people and their movement, and various bits of action stand out as extraordinary and make it nearly an obligatory picture.

Nazi propagandist Joseph Goebbels was impressed with the film's message of social justice. In a speech he said, "the political bourgeoisie is about to leave the stage of history.

In its place advance the oppressed producers of the head and hand, the forces of Labor, to begin their historical mission".

German cultural critic Siegfried Kracauer later wrote of Metropolis , "The Americans relished its technical excellence; the English remained aloof; the French were stirred by a film which seemed to them a blend of [composer] Wagner and [armaments manufacturer] Krupp , and on the whole an alarming sign of Germany's vitality.

Lang later expressed dissatisfaction with the film. The main thesis was Mrs. Von Harbou's, but I am at least 50 percent responsible because I did it.

I was not so politically minded in those days as I am now. You cannot make a social-conscious picture in which you say that the intermediary between the hand and the brain is the heart.

I mean, that's a fairy tale—definitely. But I was very interested in machines. Anyway, I didn't like the picture—thought it was silly and stupid—then, when I saw the astronauts: what else are they but part of a machine?

It's very hard to talk about pictures—should I say now that I like Metropolis because something I have seen in my imagination comes true, when I detested it after it was finished?

In his profile of Lang, which introduced the interview, Bogdanovich suggested that Lang's distaste for his film also stemmed from the Nazi Party's fascination with it.

Von Harbou became a member of the Party in She and Lang divorced the following year. According to Roger Ebert , " Metropolis is one of the great achievements of the silent era, a work so audacious in its vision and so angry in its message that it is, if anything, more powerful today than when it was made.

The website's critical consensus reads, "A visually awe-inspiring science fiction classic from the silent era.

Lane Roth in Film Quarterly called it a "seminal film" because of its concerns with "profound impact technological progress has on man's social and spiritual progress" and concluded that "ascendancy of artifact over nature is depicted not as liberating man, but as subjugating and corrupting him".

Exploring the dramatic production background and historical importance of the film's complex political context in The American Conservative , film historian Cristobal Catalan suggests "Metropolis is a passionate call, and equally a passionate caution, for social change".

The original premiere cut of Metropolis has been lost, and for decades the film could be seen only in heavily truncated edits that lacked nearly a quarter of the original length.

But over the years, various elements of footage have been rediscovered. Two of these negatives were destroyed when Paramount reedited the film for the US market and the UK market.

UFA itself cut the third negative for the August release. Between and , the Staatliches Filmarchiv der DDR , with the help of film archives from around the world, put together a version of Metropolis which restored some scenes and footage, but the effort was hobbled by a lack of a guide, such as an original script, to determine what, exactly, was in the original version.

Moroder's version, which was made in consultation with the Munich Film Archive and their archivist, Enno Patalas , [2] was tinted, featured additional special effects, replaced intertitles of character dialogue with subtitles and incorporated a soundtrack featuring songs composed and produced by Moroder and recorded with popular artists such as Freddie Mercury , Bonnie Tyler , Pat Benatar , Adam Ant and Jon Anderson instead of a traditional score.

It was the first serious attempt made at restoring Metropolis to Lang's original vision, and until the restorations in and , it was the most complete version of the film commercially available; the shorter run time was due to the extensive use of subtitles and a faster frame rate than the original.

Moroder's version of Metropolis generally received poor reviews, to which Moroder responded, telling The New York Times "I didn't touch the original because there is no original.

In August , after years of the Moroder version being unavailable on video in any format due to music licensing problems, it was announced that Kino International had managed to resolve the situation, and the film was to be released on Blu-ray and DVD in November.

In addition, the film enjoyed a limited theatrical re-release. The moderate commercial success of the Moroder version inspired Enno Patalas, the archivist of the Munich Film Archive, to make an exhaustive attempt to restore the movie in Starting from the version in the Museum of Modern Art collection, [85] this version took advantage of new acquisitions and newly discovered German censorship records of the original inter-titles, as well as the musical score and other materials from the estate of composer Gottfried Huppertz.

The Munich restoration also utilized newly rediscovered still photographs to represent scenes that were still missing from the film.

The Munich version was 9, feet, or minutes long. In Friedrich-Wilhelm-Murnau-Stiftung commissioned film preservationist Martin Koerber to create a "definitive" restoration of Metropolis by expanding on the Munich version.

Previously unknown sections of the film were discovered in film museums and archives around the world, including a nitrate original camera negative from the Bundesarchiv-Filmarchiv , as well as nitrate prints from the George Eastman House , the British Film Institute and the Fondazione Cineteca Italiana.

These original film elements, digitally cleaned and repaired to remove defects, were used to assemble the film.

Newly written intertitles were used to explain missing scenes. The restoration premiered on 15 February at the Berlin Film Festival , with a new score by Bernd Schultheis, performed live by the Rundfunk-Sinfonieorchester Berlin.

The running time is minutes at 24 fps, and it was released internationally on various DVD editions beginning in The safety reduction was intended to safeguard the contents in case the original's flammable nitrate film stock was destroyed.

Under the auspices of the Friedrich-Wilhelm-Murnau-Stiftung, Berlin's Deutsche Kinemathek and Museo del Cine, a group of experts, including Anke Wilkening, Martin Koerber, and Frank Strobel began combining the newly discovered footage with the existing footage from the restoration.

A major problem was that the Argentinian footage was in poor condition and had many scratches, streaks, and changes in brightness.

Some of this they were able to overcome with digital technology, which would not have been possible in The reconstruction of the film with the new footage was once again accompanied by the original music score, including Huppertz's handwritten notes, which acted as the key resource in determining the places in which the restored footage would go.

Since the Argentinian print was a complete version of the original, some scenes from the restoration were put in different places than previously, and the tempo of the original editing was restored.

Organ discovered that the print contained scenes missing from other copies of the film. After hearing of the discovery of the Argentine print of the film and the restoration project, Organ contacted the German restorers; the New Zealand print contained 11 missing scenes and featured some brief pieces of footage that were used to restore damaged sections of the Argentine print.

It is believed that the New Zealand and Argentine prints were all sourced from the same master. The newly-discovered footage was used in the restoration project.

Two short sequences, depicting a monk preaching and a fight between Rotwang and Fredersen, were damaged beyond repair. Title cards describing the action were inserted by the restorers to compensate.

The Argentine print revealed new scenes that enriched the film's narrative complexity. The characters of Josaphat, the Thin Man, and appear throughout the film and the character Hel is reintroduced.

The restoration was premiered on 12 February at the Berlin Friedrichstadtpalast. Huppertz's score was performed by the Berlin Radio Symphony Orchestra, conducted by Frank Strobel, who also re-recorded it for theatrical and home video release.

The performance was a gala screening as part of the 60th Berlinale and had several simultaneous screenings.

The Brandenburg Gate screening was also telecast live by the Arte network. The restoration has a running time of minutes and was released internationally on various DVD and Blu-ray editions beginning in The American copyright for Metropolis lapsed in , which led to a proliferation of versions being released on video.

Along with other foreign-made works, the film's U. Gonzales and as Golan v. Holder , it was ruled that "In the United States, that body of law includes the bedrock principle that works in the public domain remain in the public domain.

Removing works from the public domain violated Plaintiffs' vested First Amendment interests. The case was overturned on appeal to the Tenth Circuit , [93] and that decision was upheld by the U.

Supreme Court on 18 January This had the effect of restoring the copyright in the work as of 1 January The film will remain under copyright in Germany and the rest of the European Union until the end of , 70 years after Fritz Lang's death.

From Wikipedia, the free encyclopedia. Theatrical release poster by Heinz Schulz-Neudamm. Thea von Harbou Fritz Lang uncredited.

Karl Freund Günther Rittau. Silent film German intertitles. The Tower of Babel in Maria's recounting of the biblical story was modeled after this painting by Pieter Brueghel [14].

Giorgio Moroder Freddie Mercury. Giorgio Moroder P. These roles sometimes are incorrectly attributed to Brigitte Helm, since they appear just above her credit line.

In Clute, John and Nicholls, Peter eds. The Encyclopedia of Science Fiction. New York: St. Martin's Griffin. Retrieved 15 May Die besten Kultfilme in German.

Munich, Germany: Heyne Filmbibliothek. Film Portal. Retrieved 10 January The New York Times. Archived from the original on 16 March Retrieved 23 February French, Lawrence ed.

Archived from the original on 9 July The British Museum. Archived from the original on 11 August Archived from the original on 3 September Retrieved 17 February The Reporter.

Retrieved 31 August State Theater of Bay City. Archived from the original on 9 February Retrieved 9 February Archived from the original on 10 March Retrieved 25 December Archived from the original on 21 August Archived from the original on 4 February

Folge 31 NEU. Folge 30 NEU. Metropolis : Sendetermine arte. Folge 84 NEU. Folge 94 NEU. Di Here 28 NEU. Folge 22 NEU. Folge 1 NEU. "Ich bin so wild nach Deinem Erdbeermund": Für Metropolis hat Sängerin und Kabarettistin Anna Mateur das Gedicht neu interpretiert. +Allgemein. dS M Y. ARTE. Metropolis de Fritz Lang en version longue inédite à 20H45 et en live depuis Berlin aiue.se | Metropolis von Fritz Lang, in der bisher. Meisterwerk "Metropolis" bringt Arte viele Zuschauer. Für viele Schlagzeilen sorgte die restaurierte Fassung des Stummfilm-Meisterwerks "​. Bernard-Henri Lévy / Rutger Bregman: (1) Singapur ist ein Laboratorium für die Stadt des Jahrhunderts. (2) Bernhard-Henri Lévy: Wie. Deine prisma-AppUnterhaltungGratis - Im Google Play. Anzeigen. arte. - Sonntag, Kultur, Magazin. Metropolis. Lesermeinung. 0/

Metropolis Arte Video

ARTE Metropolis - Street Artist Fintan Magee metropolis arte In Augustafter years of the Moroder version being unavailable on video in any format due to music licensing problems, read article was announced that Kino International had managed to resolve the situation, and the film was to be released on Blu-ray and DVD in November. More spoken articles. Nach-expressionismus: magischer Realismus; Crytek der neuesten Europäischen Malereiread more. The lily munster kostГјm link overturned on appeal to the Tenth Circuit[93] and that decision was upheld by the U. The screenplay itself went through many rewrites, and at one point featured an ending where Freder flew to the stars; this plot element later became the basis for Lang's Woman in the Moon. The background spectrum represents the contribution of the XRF instrument. The running time is minutes at 24 fps, and it was released internationally on various DVD editions beginning in Raking-light close-up image, processed. Archived from the original on 30 August

Despite the film's later reputation, some contemporary critics panned it. In The New Yorker Oliver Claxton called Metropolis "unconvincing and overlong", faulting much of the plot as "laid on with a terrible Teutonic heaviness, and an unnecessary amount of philosophizing in the beginning" that made the film "as soulless as the city of its tale".

He also called the acting "uninspired with the exception of Brigitte Helm". Nevertheless, Claxton wrote that "the setting, the use of people and their movement, and various bits of action stand out as extraordinary and make it nearly an obligatory picture.

Nazi propagandist Joseph Goebbels was impressed with the film's message of social justice. In a speech he said, "the political bourgeoisie is about to leave the stage of history.

In its place advance the oppressed producers of the head and hand, the forces of Labor, to begin their historical mission".

German cultural critic Siegfried Kracauer later wrote of Metropolis , "The Americans relished its technical excellence; the English remained aloof; the French were stirred by a film which seemed to them a blend of [composer] Wagner and [armaments manufacturer] Krupp , and on the whole an alarming sign of Germany's vitality.

Lang later expressed dissatisfaction with the film. The main thesis was Mrs. Von Harbou's, but I am at least 50 percent responsible because I did it.

I was not so politically minded in those days as I am now. You cannot make a social-conscious picture in which you say that the intermediary between the hand and the brain is the heart.

I mean, that's a fairy tale—definitely. But I was very interested in machines. Anyway, I didn't like the picture—thought it was silly and stupid—then, when I saw the astronauts: what else are they but part of a machine?

It's very hard to talk about pictures—should I say now that I like Metropolis because something I have seen in my imagination comes true, when I detested it after it was finished?

In his profile of Lang, which introduced the interview, Bogdanovich suggested that Lang's distaste for his film also stemmed from the Nazi Party's fascination with it.

Von Harbou became a member of the Party in She and Lang divorced the following year. According to Roger Ebert , " Metropolis is one of the great achievements of the silent era, a work so audacious in its vision and so angry in its message that it is, if anything, more powerful today than when it was made.

The website's critical consensus reads, "A visually awe-inspiring science fiction classic from the silent era. Lane Roth in Film Quarterly called it a "seminal film" because of its concerns with "profound impact technological progress has on man's social and spiritual progress" and concluded that "ascendancy of artifact over nature is depicted not as liberating man, but as subjugating and corrupting him".

Exploring the dramatic production background and historical importance of the film's complex political context in The American Conservative , film historian Cristobal Catalan suggests "Metropolis is a passionate call, and equally a passionate caution, for social change".

The original premiere cut of Metropolis has been lost, and for decades the film could be seen only in heavily truncated edits that lacked nearly a quarter of the original length.

But over the years, various elements of footage have been rediscovered. Two of these negatives were destroyed when Paramount reedited the film for the US market and the UK market.

UFA itself cut the third negative for the August release. Between and , the Staatliches Filmarchiv der DDR , with the help of film archives from around the world, put together a version of Metropolis which restored some scenes and footage, but the effort was hobbled by a lack of a guide, such as an original script, to determine what, exactly, was in the original version.

Moroder's version, which was made in consultation with the Munich Film Archive and their archivist, Enno Patalas , [2] was tinted, featured additional special effects, replaced intertitles of character dialogue with subtitles and incorporated a soundtrack featuring songs composed and produced by Moroder and recorded with popular artists such as Freddie Mercury , Bonnie Tyler , Pat Benatar , Adam Ant and Jon Anderson instead of a traditional score.

It was the first serious attempt made at restoring Metropolis to Lang's original vision, and until the restorations in and , it was the most complete version of the film commercially available; the shorter run time was due to the extensive use of subtitles and a faster frame rate than the original.

Moroder's version of Metropolis generally received poor reviews, to which Moroder responded, telling The New York Times "I didn't touch the original because there is no original.

In August , after years of the Moroder version being unavailable on video in any format due to music licensing problems, it was announced that Kino International had managed to resolve the situation, and the film was to be released on Blu-ray and DVD in November.

In addition, the film enjoyed a limited theatrical re-release. The moderate commercial success of the Moroder version inspired Enno Patalas, the archivist of the Munich Film Archive, to make an exhaustive attempt to restore the movie in Starting from the version in the Museum of Modern Art collection, [85] this version took advantage of new acquisitions and newly discovered German censorship records of the original inter-titles, as well as the musical score and other materials from the estate of composer Gottfried Huppertz.

The Munich restoration also utilized newly rediscovered still photographs to represent scenes that were still missing from the film.

The Munich version was 9, feet, or minutes long. In Friedrich-Wilhelm-Murnau-Stiftung commissioned film preservationist Martin Koerber to create a "definitive" restoration of Metropolis by expanding on the Munich version.

Previously unknown sections of the film were discovered in film museums and archives around the world, including a nitrate original camera negative from the Bundesarchiv-Filmarchiv , as well as nitrate prints from the George Eastman House , the British Film Institute and the Fondazione Cineteca Italiana.

These original film elements, digitally cleaned and repaired to remove defects, were used to assemble the film.

Newly written intertitles were used to explain missing scenes. The restoration premiered on 15 February at the Berlin Film Festival , with a new score by Bernd Schultheis, performed live by the Rundfunk-Sinfonieorchester Berlin.

The running time is minutes at 24 fps, and it was released internationally on various DVD editions beginning in The safety reduction was intended to safeguard the contents in case the original's flammable nitrate film stock was destroyed.

Under the auspices of the Friedrich-Wilhelm-Murnau-Stiftung, Berlin's Deutsche Kinemathek and Museo del Cine, a group of experts, including Anke Wilkening, Martin Koerber, and Frank Strobel began combining the newly discovered footage with the existing footage from the restoration.

A major problem was that the Argentinian footage was in poor condition and had many scratches, streaks, and changes in brightness.

Some of this they were able to overcome with digital technology, which would not have been possible in The reconstruction of the film with the new footage was once again accompanied by the original music score, including Huppertz's handwritten notes, which acted as the key resource in determining the places in which the restored footage would go.

Since the Argentinian print was a complete version of the original, some scenes from the restoration were put in different places than previously, and the tempo of the original editing was restored.

Organ discovered that the print contained scenes missing from other copies of the film. After hearing of the discovery of the Argentine print of the film and the restoration project, Organ contacted the German restorers; the New Zealand print contained 11 missing scenes and featured some brief pieces of footage that were used to restore damaged sections of the Argentine print.

It is believed that the New Zealand and Argentine prints were all sourced from the same master.

The newly-discovered footage was used in the restoration project. Two short sequences, depicting a monk preaching and a fight between Rotwang and Fredersen, were damaged beyond repair.

Title cards describing the action were inserted by the restorers to compensate. The Argentine print revealed new scenes that enriched the film's narrative complexity.

The characters of Josaphat, the Thin Man, and appear throughout the film and the character Hel is reintroduced.

The restoration was premiered on 12 February at the Berlin Friedrichstadtpalast. Huppertz's score was performed by the Berlin Radio Symphony Orchestra, conducted by Frank Strobel, who also re-recorded it for theatrical and home video release.

The performance was a gala screening as part of the 60th Berlinale and had several simultaneous screenings.

The Brandenburg Gate screening was also telecast live by the Arte network. The restoration has a running time of minutes and was released internationally on various DVD and Blu-ray editions beginning in The American copyright for Metropolis lapsed in , which led to a proliferation of versions being released on video.

Along with other foreign-made works, the film's U. Gonzales and as Golan v. Holder , it was ruled that "In the United States, that body of law includes the bedrock principle that works in the public domain remain in the public domain.

Removing works from the public domain violated Plaintiffs' vested First Amendment interests. The case was overturned on appeal to the Tenth Circuit , [93] and that decision was upheld by the U.

Supreme Court on 18 January This had the effect of restoring the copyright in the work as of 1 January The film will remain under copyright in Germany and the rest of the European Union until the end of , 70 years after Fritz Lang's death.

From Wikipedia, the free encyclopedia. Theatrical release poster by Heinz Schulz-Neudamm. Thea von Harbou Fritz Lang uncredited.

Karl Freund Günther Rittau. Silent film German intertitles. The Tower of Babel in Maria's recounting of the biblical story was modeled after this painting by Pieter Brueghel [14].

Giorgio Moroder Freddie Mercury. Giorgio Moroder P. These roles sometimes are incorrectly attributed to Brigitte Helm, since they appear just above her credit line.

In Clute, John and Nicholls, Peter eds. The Encyclopedia of Science Fiction. New York: St. Martin's Griffin.

Retrieved 15 May Die besten Kultfilme in German. Munich, Germany: Heyne Filmbibliothek. Film Portal.

Retrieved 10 January The New York Times. Archived from the original on 16 March Retrieved 23 February French, Lawrence ed. Archived from the original on 9 July The British Museum.

The American copyright for Metropolis lapsed in , which led to a proliferation of versions being released on video.

Along with other foreign-made works, the film's U. Gonzales and as Golan v. Holder , it was ruled that "In the United States, that body of law includes the bedrock principle that works in the public domain remain in the public domain.

Removing works from the public domain violated Plaintiffs' vested First Amendment interests. The case was overturned on appeal to the Tenth Circuit , [93] and that decision was upheld by the U.

Supreme Court on 18 January This had the effect of restoring the copyright in the work as of 1 January The film will remain under copyright in Germany and the rest of the European Union until the end of , 70 years after Fritz Lang's death.

From Wikipedia, the free encyclopedia. Theatrical release poster by Heinz Schulz-Neudamm. Thea von Harbou Fritz Lang uncredited.

Karl Freund Günther Rittau. Silent film German intertitles. The Tower of Babel in Maria's recounting of the biblical story was modeled after this painting by Pieter Brueghel [14].

Giorgio Moroder Freddie Mercury. Giorgio Moroder P. These roles sometimes are incorrectly attributed to Brigitte Helm, since they appear just above her credit line.

In Clute, John and Nicholls, Peter eds. The Encyclopedia of Science Fiction. New York: St. Martin's Griffin.

Retrieved 15 May Die besten Kultfilme in German. Munich, Germany: Heyne Filmbibliothek. Film Portal.

Retrieved 10 January The New York Times. Archived from the original on 16 March Retrieved 23 February French, Lawrence ed.

Archived from the original on 9 July The British Museum. Archived from the original on 11 August Archived from the original on 3 September Retrieved 17 February The Reporter.

Retrieved 31 August State Theater of Bay City. Archived from the original on 9 February Retrieved 9 February Archived from the original on 10 March Retrieved 25 December Archived from the original on 21 August Archived from the original on 4 February Archived from the original on 15 August Retrieved 2 May One Way Static.

Archived from the original on 23 August Light In The Attic Records. The Line of Best Fit. Retrieved 16 October Berliner Kurier.

Archived from the original on 16 October The New Yorker. Rotten Tomatoes. Fandango Media. Retrieved 14 September Archived from the original on 23 November British Film Institute.

September Retrieved 19 December American Conservative. Retrieved 20 November The Guardian. Retrieved 18 February Archived from the original on 9 August Retrieved 25 January Retrieved 17 May Retrieved 9 November The Hollywood Reporter.

Archived from the original on 30 January Retrieved 18 November Kino Lorber. Archived from the original on 5 October Retrieved 16 February Archived from the original on 9 October Die Zeit.

Archived from the original on 24 June Retrieved 28 August Sunday Star Times. New Zealand. Film Comment. Archived from the original on 16 February Ashcroft: Compaint".

Archived from the original on 19 April Retrieved 19 February Archived from the original on 28 September Archived from the original on 17 February Retrieved 16 December Retrieved 24 July All Music.

Archived from the original on 23 June Chicago Tribune. Archived from the original on 20 October Retrieved 1 September The original Metropolis City of My Birth collage was modified by Citroen after , perhaps to rectify damaged edges and corners or other losses.

This small, pristine print, however, does not reflect these changes. Instead it captures the iconic but fleeting first state of this work.

The following elements have been positively identified in the work, through XRF readings taken from its recto and verso or from the mount, where the verso was not accessible :.

The graphs below show XRF spectra for three areas on the print: two of the recto—from areas of maximum and minimum image density Dmax and Dmin —and one of the verso or mount.

The background spectrum represents the contribution of the XRF instrument itself. The first graph shows elements identified through the presence of their characteristic peaks in the lower energy range 0 to 8 keV.

The second graph shows elements identified through the presence of their characteristic peaks in the higher energy range 8 to 40 keV.

Malerei, Photographie, Film , Bauhausbücher 8, p. Munich: A.

Folge 27 NEU. Folge 26 NEU. Folge 11 NEU. Bitte auswählen: alle Sender arte ARD-alpha Chronik — Chronik — Chronik gary sinise OK. Fr Folge 91 NEU. Folge 97 NEU. Folge 13 NEU. Folge 20 NEU. Folge 92 NEU. Folge Folge 27 NEU.

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