Film Contact Inhaltsangabe & Details
Nach dem frühen Tod ihrer Eltern hat sich die Funkamateurin Dr. Eleanor `Ellie' Arroway voll und ganz der Wissenschaft verschrieben. Seit Jahren ist sie auf der Suche nach Beweisen für die Existenz intelligenter außerirdischer Lebensformen. Eines. Contact ist ein Science-Fiction-Drama aus dem Jahr des Regisseurs Robert Zemeckis mit Jodie Foster und Matthew McConaughey in den Hauptrollen. Das Drehbuch und der Roman Contact von Carl Sagan aus dem Jahr entstanden gleichzeitig und hatten sich gegenseitig beeinflusst. Der Film startete am 9. Der Roman bildet die Grundlage des gleichnamigen Films Contact von Robert Zemeckis. Inhaltsverzeichnis. 1 Entstehungsgeschichte; 2 Handlung; 3. Contact. Jodie Foster will ein kosmisches Enigma lösen - und findet bei ihrer von Robert Zemeckis spektakulär organisierten Zeitreise zum Stern Wega ein. Komplette Handlung und Informationen zu Contact. Nach dem frühen Tod ihrer Eltern hat sich die Funkamateurin Dr. Eleanor 'Ellie' Arroway (Jodie Foster) voll.
Die Astronomin Dr. Ellie Arroway (Jodie Foster) ist nicht nur eine exzellente Wissenschaftlerin, sie ist auch sehr eigensinnig. Geplagt von Bindungs- und. 8 Userkritiken zum Film Contact von Robert Zemeckis mit Jodie Foster, Matthew McConaughey, Tom Skerritt - aiue.se Contact ein Film von Robert Zemeckis mit Jodie Foster, Matthew McConaughey. Inhaltsangabe: Dr. Ellie Arroway (Jodie Foster) ist eine genauso exzellente wie. Contact ein Film von Robert Zemeckis mit Jodie Foster, Matthew McConaughey. Inhaltsangabe: Dr. Ellie Arroway (Jodie Foster) ist eine genauso exzellente wie. 8 Userkritiken zum Film Contact von Robert Zemeckis mit Jodie Foster, Matthew McConaughey, Tom Skerritt - aiue.se Film: Contact () - aiue.se: Filme, Kinos, Kinoprogramm, 3D, Charts, DVD, Video, Startdaten, Releases, Trailer und Bilder. Regionalisiert für die ganze. Die Astronomin Dr. Ellie Arroway (Jodie Foster) ist nicht nur eine exzellente Wissenschaftlerin, sie ist auch sehr eigensinnig. Geplagt von Bindungs- und. Kontakt (originaltittel Contact) er et amerikansk science fiction-drama fra basert på Carl Sagans roman med samme navn fra Wikipedia is a free.
Film Contact - NavigationsmenüKritik schreiben. Deren Kosten werden im Buch auch als pro Jahr deutlich höher beziffert, als der Gesamtbetrag im Film, weswegen die Kosten auf die gesamte Welt umgewälzt wurden. Gesamt: Unglaublich realistisch und spannend. Dabei bleibt er jeden Moment überzeugend realistisch, fast schon dokumentarisch. Jodie Foster. Es fehlt etwas mehr Action und man hätte die Szenen article source der Maschine und im Universum ausbauen müssen!. Im weiteren Verlauf erfährt Seems unsere jungs sat 1 topic, dass diese Art der Kontaktanbahnung von den Unbekannten schon seit Jahrmilliarden praktiziert wird. Auf der einen Seite https://aiue.se/hd-stream-filme/kazuma-konosuba.php Wissenschaftlerin die nichts von Gott hält und auf der anderen Seite ein Theologe der versucht für sich einen Kompromiss zwischen Glaube https://aiue.se/filme-stream-legal/das-imperium-schlggt-zurgck-stream.php Wissenschaft zu finden. David Morse. Jena Malone.
En VOD. Contact Bande-annonce VO. Contact Teaser VO. Interview, making-of et extrait. Acteurs et actrices. Jodie Foster. Matthew McConaughey.
Tom Skerritt. John Hurt. Critiques Spectateurs. Lire plus. Un visiteur. Merci Zemeckis. Merci d'offrir de si bons films.
De loin le meilleur film portant sur les extraterrestres que j'ai pu voir. Quel final! Un bon Lucien O. Secret de tournage.
Vous ne savez pas quoi regarder ce soir? Si vous aimez ce film, vous pourriez aimer Europa Report. The Man From Earth.
L'Homme qui venait d'ailleurs. Revu en The alien tells her that the familiar landscape and form were used to make their first contact easier for her and that this journey was just humanity's first step to joining other spacefaring species.
Arroway falls unconscious as she begins traveling back through a wormhole. She awakens to find herself on the floor of the pod, the mission control team repeatedly hailing her.
She learns that, from outside the machine, it appears that the pod merely dropped through the machine's rings and landed in a safety net.
A Congressional Committee is formed and speculates that the signal and machine were a hoax designed by the now-deceased Hadden.
Arroway asks the committee to accept the truth of her testimony on faith. Carl Sagan conceived the idea for Contact in The same year, Lynda Obst , one of Sagan's closest friends, was hired by film producer Peter Guber to be a studio executive for his production company , Casablanca FilmWorks.
She pitched Guber the idea for Contact , who commissioned a development deal. Carl's and my dream was to write something that would be a fictional representation of what contact would actually be like, that would convey something of the true grandeur of the universe.
They added the science and religion analogies as a metaphor of philosophical and intellectual interest in searching for the truth of both humanity and alien contact.
Sagan incorporated Kip Thorne 's study of wormhole space travel into the screenplay. Ellie Arroway was inspired by Dr.
The writers debated whether Arroway should have a baby at the film's end. New characters were added, one of them a Native American park ranger turned astronaut.
Guber said: . Here was a woman consumed with the idea that there was something out there worth listening to, but the one thing she could never make contact with was her own child.
To me, that's what the film had to be about. Sagan and Druyan disagreed with Guber's idea, and it was not incorporated into the storyline.
In , Guber took Contact to Warner Bros. Pictures , and with the film's development stalled, Sagan started to turn his original idea into a novel , which was published by Simon and Schuster in September The film adaptation remained in development, and Guber eventually vacated his position at Warner Bros.
Guber became the new president of Sony Pictures Entertainment and tried to purchase the film rights of Contact from Warner, but the studio refused.
Coincidentally, in , Obst was hired as a new executive at Warner and began to fast-track the film by hiring more writers.
Goldenberg's second draft rekindled Warner Bros. The first script [for Contact ] I saw was great until the last page and a half In December , Warner Bros.
In addition to having aliens put on a laser lighting display around Earth, another version of the Goldenberg scripts had an alien wormhole swallow up the planet, transporting Earth to the center of the galaxy.
Miller also asked Goldenberg to rewrite Contact in an attempt to portray the Pope as a key supporting character.
Warner Bros. Robert Zemeckis, who previously turned down the director's position, decided to accept the offer. For the cast and main crew members, he conducted an academic conference that depicted a detailed history of astronomy.
During the development of Contact , the production crew watched Stanley Kubrick 's A Space Odyssey for inspiration.
Principal photography began on September 24, , and ended on February 28, Studios in Burbank , and Culver Studios.
All together, the art department created more than 25 sets. In an attempt to create a sense of realism for the storyline, principal CNN news outlet commentators were scripted into Contact.
Other second unit work took place in Fiji and Newfoundland, Canada. Filming was briefly delayed with the news of his death on December 20, Contact was dedicated to Sagan: "For Carl" appears on the screen at the fade.
The sound designers used Pro Tools software for the audio mixing , which was done at Skywalker Sound. Designing Contact ' s visual effects sequences was a joint effort among eight separate VFX companies.
Weta Digital, in particular, was responsible for designing the wormhole sequence. Blue walls, blue roof. It was just blue, blue, blue", Foster explained.
It was really tough. News footage of then-President Bill Clinton was digitally altered to make it appear as if he is speaking about alien contact.
This was not the original plan for the film;  Zemeckis had initially approached Sidney Poitier to play the president, but the actor turned the role down in favor of The Jackal.
When he said the line 'We will continue to listen closely to what it has to say', I almost died. I stood there with my mouth hanging open.
One notable feature of Contact is its use of digital color correction. This approach helped solve continuity errors during the location shooting at the Very Large Array in New Mexico.
The opening scene is a three-minute computer-generated sequence, beginning with a view of Earth from high in the exosphere and listening in on numerous radio waves of modern programming emitting from the planet.
The camera then starts zooming backward, passing the Moon, Mars, and other features of the solar system, then to the Oort cloud , interstellar space , the Local Bubble , the Milky Way , other galaxies of the Local Group , and eventually into deep space.
As this occurs, the radio signals start to drop out and reflect older programming, representing the distance these signals would have traveled at the speed of light, eventually becoming silent as the distance becomes much greater.
The sequence eventually resolves into the iris of young Ellie's eye as she is listening on her amateur radio. This scale view shot of the entire universe was inspired by the short documentary film Powers of Ten At the time, it was the longest continuous computer-generated effect for a live-action film, eventually surpassed by the opening sequence from The Day After Tomorrow One sequence, with young Ellie running upstairs to try to retrieve her father's medicine, appears to have Ellie running just behind a camera as they move into the bathroom, but the shot resolves to show that this had been part of the medicine cabinet's mirror reflection, pulling back to have Ellie open it.
This sequence is noted as one of the film's most impressive visual effects due to the seamlessness of the transition. According to Carin-Anne Strohmaier, the first assistant film editor, the shot was created through three different plates , digitally manipulated in CGI to create the effect: one plate was from the cameraman leading Ellie, the second of Ellie opening the cabinet door which was a blue screen instead of a mirror , and the third of the reflection of Ellie and her dad when the door closes.
The decoding of the extraterrestrial message, with its architectural drawings of the machine, was created by Ken Ralston and Sony Pictures Imageworks.
Imageworks created more than visual effects shots, using a combination of model and miniature shots and digital computer work.
On designing the Machine, Zemeckis explained that "The Machine in Sagan's novel was somewhat vague, which is fine for a book.
In a movie, though, if you're going to build a giant physical structure of alien design, you have to make it believable.
It had to look absolutely real. Early conceptual designs of the Pod itself were based, as it existed in the novel, on one of the primary shapes in geometry, a dodecahedron , or a twelve-sided body.
Eventually the Pod was modified to a spherical capsule that encases the traveler, with a dodecahedron surrounding the sphere.
Zemeckis and the production crew also made several visits to the Kennedy Space Center at Merritt Island adjacent to Cape Canaveral , where officials allowed them access to sites off-limits to most visitors.
Filmmakers were also brought onto Launch Complex 39 before the launch of the space shuttle. The resulting photographs and research were incorporated into the design of the machine's surrounding supports and gantry.
Once the concept met with the filmmakers' approval, physical construction began on the sets for the Pod itself, the interior of the elevator, and the gantry, which took almost four months to build.
The rest of the effects were compiled digitally by Imageworks. The climactic scene depicting the mysterious beach near the galactic core where Arroway makes contact, in particular, called for major visual innovations.
The goal was an idyllic seashore with a sky blazing with stars that might exist near the core of the galaxy. Ralston said that "the thought was that this beach would have a heightened reality.
One that might make the everyday world seem like a vague daydream. The Hitler newsreel also required digital manipulation. The original score was composed by Alan Silvestri , most of which was released on August 19, , by Warner Bros.
The CD track entitled "Good to Go" features a slightly different opening—a brief brass motif that is not in the film—but all other cues are identical in orchestration to the mix in the film.
Contact often suggests that cultural conflicts between religion and science would be brought to the fore by the apparent contact with aliens that occurs in the film.
A point of discussion is the existence of God , with several different positions being portrayed.
Joss compares his certainty that God exists to Arroway's certainty that she loved her deceased father, despite her being unable to prove it.
Contact depicts intense debate occurring as a result of the apparent contact with aliens. Many clips of well-known debate shows such as Crossfire and Larry King Live are shown, with participants discussing the implications of the message, asking whether it is proof of the existence of alien life or of God, and whether science is encroaching upon religious ground by, as one believer puts it, "talking to your god for you".
Although the revelation at the end of the film that Arroway's recording device recorded approximately 18 hours of noise is arguably conclusive proof of the fact of—if not the experience of—her "journey", several coincidences and indications throughout the film cast doubt on its authenticity.
Director Robert Zemeckis indicated: "The point of the movie is for there always to be a certain amount of doubt [as to whether the aliens were real].
Hadden Arroway's only sponsor, who was close to death from cancer after weeks of failed attempts by the team at the VLA.
At the end of the film, Arroway is put into a position that she had traditionally viewed with skepticism and contempt: that of believing something with complete certainty, despite being unable to prove it in the face of not only widespread incredulity and skepticism which she admits that as a scientist she would normally share but also evidence apparently to the contrary.
Zemeckis stated that he intended the message of the film to be that science and religion can coexist rather than being opposing camps,  as shown by the coupling of scientist Arroway with the religious Joss, as well as his acceptance that the "journey" indeed took place.
This, and scattered references throughout the film, posit that science and religion are not nominally incompatible: one interviewer, after asking Arroway whether the construction of the machine—despite not knowing what will happen when it is activated—is too dangerous, suggests that it is being built on the "faith" that the alien designers, as Arroway puts it, "know what they're doing".
Contact ' s release in July rekindled public interest in Sagan's novel. Among the special features, the DVD contains three separate audio commentaries by director Zemeckis and producer Starkey, another by visual effects supervisors Ken Ralston and Stephen Rosenbaum, along with one by star Jodie Foster.
The critical consensus reads, " Contact elucidates stirring scientific concepts and theological inquiry at the expense of satisfying storytelling, making for a brainy blockbuster that engages with its ideas, if not its characters.
Roger Ebert , who gave the film three-and-a-half stars out of four, said that Contact was on par with Steven Spielberg 's Close Encounters of the Third Kind as Hollywood's most cinematic study of extraterrestrial life.
Kenneth Turan of the Los Angeles Times said that the film carried a more philosophical portrait of the science fiction genre than did other films, but still managed "to satisfy the cravings of the general public who simply want to be entertained".
Berardinelli felt that the film was on par with Stanley Kubrick 's A Space Odyssey to be one of the greatest science fiction films ever made.
Rita Kempley, writing in The Washington Post , did not like the film's main premise, which she described as "a preachy debate between sanctity and science".
In , a meteorite, thought to be from Mars , was found in Antarctica. McKay was published in the journal Science , proposing that the meteorite might contain evidence for microscopic fossils of Martian bacteria later, a disputed interpretation.
Good afternoon. I'm glad to be joined by my science and technology adviser This is the product of years of exploration Like all discoveries, this one will and should continue to be reviewed, examined, and scrutinized.
It must be confirmed by other scientists. But clearly, the fact that something of this magnitude is being explored is another vindication If this discovery is confirmed, it will surely be one of the most stunning insights into our universe that science has ever uncovered.
Its implications are as far reaching and awe inspiring as can be imagined. Even as it promises answers to some of our oldest questions, it poses still others even more fundamental.
We will continue to listen closely to what it has to say as we continue the search for answers and for knowledge that is as old as humanity itself but essential to our people's future.
Thank you. Later in the film, a separate fragment of generic remarks by President Clinton, speaking about Saddam Hussein and Iraq at a different press conference in October , was lifted out of context and inserted into Contact : .
I would encourage you not to inflame this situation beyond the facts. Let us deal with this on the facts.
We are monitoring what has actually happened. The letter made no demands, but called the duration and manner of Clinton's appearance "inappropriate".
No legal action was planned; the White House Counsel simply wanted to send a message to Hollywood to avoid unauthorized uses of the President's image.
Zemeckis was reminded that official White House policy "prohibits the use of the President in any way A Warner Bros. They saw scripts, they were notified when the film was completed, they were sent a print well in advance of the film's July 11 opening, and we have confirmation that a print was received there July 2.
While the Counsel commented that parody and satire are protected under the First Amendment , press secretary Mike McCurry believed that "there is a difference when the President's image, which is his alone to control, is used in a way that would lead the viewer to believe he has said something he really didn't say".
Johnson added that, for Contact , the CNN presence "creates the impression that we're manipulated by Time Warner, and it blurs the line".
CNN then changed their policies for future films, which now require potential appearances to be cleared through their ethics group.
Under their development agreement,  Coppola and Sagan were to split proceeds from the project, as well as from any novel Sagan would write, with American Zoetrope and Children's Television Workshop Productions.
The TV program was never produced, but in , Simon and Schuster published Contact , and Warner moved forward with development of a film adaptation.
Although Torres agreed that Sagan violated some terms of the contract, he explained that Coppola waited too long to file his lawsuit, and that the contract might not be enforceable as it was written.
In April , the CCA dismissed his suit, finding that Coppola's claims were barred because they were brought too late. The court noted that it was not until that the filmmaker thought about suing over Contact.
The scene where the NASA scientists give Arroway the " cyanide pill " caused some controversy during production and when the film came out.
Gerald D. Griffin , the film's NASA advisor, insisted that NASA has never given any astronaut a cyanide pill "just in case", and that if an astronaut truly wished to commit suicide in space, all he or she would have to do is cut off their oxygen supply.
Zemeckis said that because of the two radically different assertions, the truth is unknown, but he left the suicide pill scene in the movie, as it seemed more suspenseful that way, and it was also in line with Sagan's beliefs and vision of the film.