Podcasts about harbou

When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt.Directed by Fritz LangWritten by Thea von Harbou & Fritz LangDirected by Rudy Schieder (@rudyschieder)Shot at Playground Social Studios (https://www.playgroundsocial.com/)

Fue una fuerza creadora en los comienzos del cine alemán, responsable de algunas de las historias y guiones más reconocidos de la época. Pero su rol fue minimizado por la historia, en parte por ser mujer y en parte por su abierto apoyo al nazismo.

Metropolis è molto più di un film: è un capolavoro che ha segnato la nascita della fantascienza nella storia del cinema, unendo architettura futuristica, riflessioni sulla lotta di classe e un'estetica visionaria senza precedenti. In questa puntata ci immergiamo nell'universo ideato da Fritz Lang e Thea von Harbou, dove la città è divisa tra la ricchezza opulenta dei piani alti e gli operai-schiavi confinati nei sotterranei. Scopriremo le curiosità dietro le riprese monumentali, gli effetti speciali pionieristici e il messaggio politico che ancora oggi risuona potente, invitandoci a riflettere sul rapporto tra progresso tecnologico e umanità. Preparatevi a esplorare una pellicola che ha incantato generazioni di spettatori e continua a ispirare il cinema di oggi. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's FilmBabble, the gents tackle the still-reigning sci-fi behemoth, Metropolis. Nearly 100 years later, Fritz Lang's awe-inspiring feat of cinema continues to challenge and excite conversation, even without much of the original footage. Does its reputation and towering legacy prove worthy, or has the last century ushered in enough new marvels for us to consider it eclipsed?Intro/outro music: Main theme from 'Mildred Pierce', composed by Max SteinerMETROPOLIS (1927), Weimar Republic, written by Thea von Harbou, directed by Fritz Lang, cinematography by Karl Freund and Günther Rittau, featuring Alfred Abel, Brigitte Helm, Gustav Fröhlich, and Rudolf Klein-Rogge

*Almost. As with all episodes of this podcast there are spoilers ahead!You can watch Metropolis (1927) here or here: For full shownotes visit the watch page for this episode on the website: https://www.everyscififilm.com/watchDescriptionAfter losing World War I Germany entered a time of economic hardship and political turmoil. In 1918 the Monarchy abdicated. The country was financially crippled by the reparations enforced by The Treaty of Versailles and German democracy began.From 1918 until Hitler came to power in 1933 is known as the Weimar period. A time of political upheaval and artistic creativity. German Art and Cinema were thriving while the left and right were wrangling for control of the country. In 1927 Fritz Lang made what is to this day considered one of the greatest films of all time. It is based on a story by Thea Von Harbou, his wife at the time, who went on to collaborate with Nazi Party on multiple films. The ongoing influence of Metropolis on film is immense. Films like Blade Runner, Fifth Element, Frankenstein, Batman, and more recently Poor Things have all been influenced by it. And yet, the film itself was not a hit.Luckily we have two luminary experts to help us understand the film, the society it came from and the themes it portrays. The expertsSonja Fritzsche is a professor of German Studies and an author/editor for many books about science fiction. She has taught courses on science fiction, utopia and Metropolis.Noah Isenberg is a film historian and best-selling author. He is a professor at the University of Texas and editor of the book Weimar Cinema: An Essential Guide to Classic Films of the Era.Chapters00:00 Introduction, shownotes clarification and guests02:30 Weimar: economics, Hitler and creative legacy11:05 Fritz Lang15:00 Thea Von Harbou18:41 Lang's Jewish heritage and Harbou's Nazism21:05 The rediscovery of missing Metropolis reels22:05 Lang's visual virtuosity26:05 Fear of the future and the three faces of Utopia27:50 The virgin, the whore and the workers unions31:41 Critical reception Vs visual spectacle35:32 Religious themes37:37 The Nazi connection45:23 Lang's future: M, Woman in the Moon, Film Noir48:25 Is Metropolis the most influential sci-fi film of all time?50:36 Conclusions and recommendationsNEXT EPISODE!We will be looking at Frankenstein and speaking about monsters and their role in storytelling and science fiction. You can watch Frankenstein (1931) here.Or check Just Watch for where it is available. 

Zdravo. Tokrat začnemo s serijo neprimernosti, pokomentiramo komentatorje in ugotovimo, da je komentiranje tekem naporen poklic. Pogovarjamo se tudi o filmih in sklenemo, da je treba verjet'. Ker je šnopc pa per ena pijača, pridemo tudi do 24. poglavja 5. knjige, a nas od dokončne obdelave zmotijo mozolji, knjige za samopomoč in … od Koprivnika žena.

Thea von Harbou (1888 - 1954) was a German screenwriter, novelist, director and actress. She worked as a screenwriter with husband and director Fritz Lang during the transition from silent to sound films. She is best known for her novel and screenplay Metropolis.  For Further Reading: von Harbou, Thea (1888–1954) Thea von Harbou Kriemhild's Revenge This month, we're talking about Women of Science Fiction. These women inspire us to imagine impossible worlds, alien creatures, and fantastical inventions, revealing our deepest fears... and hopes for the future. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.  Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Dass die Filmproduktionen den Wert von Berichten von Dreharbeiten, spektakulären Sets oder aufwändigen Reisen für die Vermarktung entstehender Filme erkannt hatten, ist an dieser Stelle schon deutlich geworden. So überrascht es nicht, dass die Vossische Zeitung den Regisseur Fritz Lang bei seinem Dreh zu dem Zweiteiler „Die Nibelungen“ besuchte, der erst 1924 seine Premiere feierte. Für den Film, der in die Filmgeschichte eingehen würde, hatte Fritz Langs damalige Ehefrau Thea von Harbou das Drehbuch geschrieben. Der zweite Teil mit dem Titel „Kriemhilds Rache“ gipfelt in dem Gemetzel am Hofe des Hunnenfürsten Etzel, wohin Kriemhild ihre Verwandtschaft lockt, um blutige Gerechtigkeit für Siegfrieds Ermordung zu erlangen. Colin Roß, der die Vossische eigentlich mit seinen Reiseberichten aus fernen Ländern belieferte, reiste also zu den Hunnen nach Potsdam-Babelsberg und gab einen sehr lebendigen Eindruck davon, wie Stummfilm-Dreharbeiten abliefen. Wer sich dafür interessierte, musste am 18. August 1923 für die Ausgabe der Zeitung schon 50.000 Mark berappen. Roß, der in diesem Podcast öfter mit seinem rassistischen Blick auf die besuchten Regionen, negativ aufgefallen war, bestätigt diese Geisteshaltung leider auch in diesem Text, mit einem despektierlichen Blick auf die Hunnen. Es liest Paula Rosa Leu.

Beaucoup, même sans avoir ouvert une bible, ont entendu parler de « la tour de Babel ». Pour ce premier épisode, j'évoque les expressions liées à ce passage biblique, et les interprétations les plus courantes. Mais que raconte exactement ce texte biblique (Genèse 11,1-9) ? NOTES· Genèse 5-9 Noé du déluge à l'Alliance· Molière, Tartuffe (1664), Acte 1, scène 1, extrait : https://youtu.be/Zt3RinFzp40?t=432 SOURCES · BIBLIOGRAPHIE· Image de couverture : tour de Babel, Bing image-IA, wikimedias commons.· Génériques : Erwan Marchand (D.R.)· Épisode enregistré en Vendée (85, France), mai 2023.· Sous Licence Creative Commons (cc BY-NC-ND 4.0 FR) REFERENCES· «Au Large Biblique » est un podcast conçu et animé par François Bessonnet, bibliste.· Le podcast sur les réseaux & sur les plateformes d'écoute· @mail | infolettre | RSS BABEL ET LA POP CULTURE· Stefan Zweig, La tour de Babel, article in Le Carmel, 1916· Franz Kafka, Lors de la construction de la Muraille de chine (nouvelle), 1931· Jorge Luis Borges, La bibliothèque de Babel, 1941· Pierre Emmanuel, Babel (poème), Desclée de Brouwer, 1951· James Graham Ballard, I.G.H. (High Rise), 1975· Umberto Eco, Le nom de la Rose, 1980· Umberto Eco, La recherche de la langue parfaite dans la culture européenne, 1994· Jean Chalopin & Nina Wolmark, Ulysse 31, épisode 16: Circé la magicienne, 1982. Youtube.· Akira Toriyama & Michiru Shimada, Dragon Ball, Karin maître de la tour Karin, anime ép. 61, 1987. Fandom.· Jacques Martin, Alix t.16 La tour de Babel, 1981· Dan Curtis Jonhson, Mak Waid, Justice League of America, tome 5, La tour de Babel, 2018· Benoît Peeters et François Schuiten, Les cités obscures, t. 3 La tour, 2008· Métropolis de Fritz Lang et Thea von Harbou, 1927· Babel d'Alejandro González Iñárritu, avec Cate Blanchett et Brad Pitt, 2006· High Rise de Ben Wheatley avec Tom Hiddleston et Jeremy Irons (2015) SOUTENIR le podcast avec Tipeee ou Ko-FiVous avez lu ces notes jusqu'à la fini. Bravo ! Rendez-vous ici. CHAPITRES DE L'EPISODE 00:00 Générique et introduction 01:00 (1) De Molière à Métropolis 04:10 (2) Lecture de Genèse 11,1-9 05:35 (3) L'énigme du texte 09:45 (4) Le contexte 13:15 (5) Conclusion 14:00 Générique de fin

Der Film basiert auf dem gleichnamigen Roman von Thea von Harbou aus dem Jahr 1925.

[1900-1960] TOP 10 obras de Ficção Científica. A Princesa de Marte por Edgar Rice Burroughs (1912) https://amzn.to/3sMerLL Nós de Yevgeny Zamyatin (1924) https://amzn.to/3fhBiMg Metropolis por Thea von Harbou (1925) https://amzn.to/3SGDlXW Admirável Mundo Novo de Aldous Huxley (1932) https://amzn.to/3DKHiXu BOX de Arthur C. Clarke(1937-1999) https://amzn.to/3DILGGh BOX de Robô por Isaac Asimov (1939-1977) https://amzn.to/3Tj569f 1984 por George Orwell (1949) https://amzn.to/3FsUIbQ Astro Boy de Osamu Tezuka (1952-1968) https://amzn.to/3UDPxtZ Fahrenheit 451 por Ray Bradbury (1953) https://amzn.to/3fhCwak Tropas Estelares por Robert A. Heinlein (1959) https://amzn.to/3WezqEv Um Cântico para Leibowitz por Walter M. Miller Jr. (1959) https://amzn.to/3gSkJqP ________________________________ ⚡️ A Alta Performance de Kobe Bryant e David Goggins https://www.lereverbo.com/mentalidade-do-vencedor

As the 1920s became the 1930s, both the Lang-von Harbou marriage and German democracy itself teetered on the edge of collapse. In this moment of personal and political chaos, the couple made movies—and choices—that would define their legacies.For show notes and other supporting information, click here.

Through movies like Destiny, Die Nibelungen, and Metropolis, the husband/wife team of director Fritz Lang and screenwriter Thea von Harbou helped establish Berlin as Hollywood's one true rival. But their emergence as international celebrities paralleled the rise of a certain failed artist storming through the beer halls of Munich.For show notes and other supporting information, click here.

From the highest skyscrapers to the deepest catacombs, we're going high and low to examine Fritz Lang's highly influential silent science fiction epic Metropolis from 1927. Kyle Brunet joins us again as we discuss the film's metaphorical depiction of class warfare, compare the screenplay to the excesses of author Thea von Harbou's novel, and analyze the differences in the various versions of the movie. Warning: Contains explicit language, spoilers, and the beginnings of our pessimistic new show, Doomcast!! Our theme song is "Nostalgia TV" by Edward Jonathan Blakeley through Lynne Publishing.  

Fritz Lang adapted the medieval German epic into this awe-inspiring two part spectacle, one of the great achievements of the silent film era. After the success of the massive two-part crime film Dr. Mabuse in 1922, Fritz Lang and screenwriter Thea von Harbou, now husband and wife, embarked on an even more ambitious project, an adaptation of the German national epic Die Nibelungen. Two years were spent in preparation, and shooting took nine months, which was a huge amount of time to make a film in those days. Once again, the result was a two-part film. Part One (Siegfried) tells of the warrior Siegfried’s wooing of the Burgundian princess Kriemhild, his services to her brother King Gunther in winning the warrior queen Brunhild, and his betrayal and death through the spite of Brunhild and the machinations of the King’s favorite knight, Hagen. Part Two (Kriemhild’s Revenge) tells of Kriemhild’s marriage to the barbarian king Etzel, and how she lures her brothers and Hagen to her court in Hungary in order to exact a bloody revenge for the death of Siegfried. Those familiar with the 12th century poem will notice that the film is almost totally faithful to its source. With only minor added dramatic flourishes, Lang and von Harbou succeeded in transforming the entire story, with its major and minor characters, into a magnificent visual spectacle. Most importantly, the picture recreates the awesome, elemental feeling of the epic, through an astonishing production design and a brilliant dramatic and visual strategy emphasizing the story’s mythic elements through monumentalism and highly stylized acting. The two parts combined have a running time of almost five hours, but the movie is never dull. At this point, Lang knew how to tell a story primarily through images—gone are the lengthy intertitles that plagued Dr. Mabuse. The huge sets have an abstract quality that aids the picture’s mythic, timeless mood. Every scene is carefully composed to convey a particular spatial sense. It’s amazing how Lang is able to make the material dramatic without ever shrinking the characters into mere individuals who have motives or psychology. These are larger-than-life emblems of human passion and struggle, and yet the film’s dynamism maintains its spell, keeping the action gripping and involving. The actors were somehow coaxed into performances that matched their gigantic surroundings. Best is Margarete Schön as Kriemhild, especially in her later incarnation as avenging angel, when she is positively scary. Die Nibelungen has had a controversial reputation among film critics and historians, some of whom see it as an example of a “fascist” style in filmmaking. But this is a tragic story where greed and envy lead to crime, which then leads to a cycle of vengeance that destroys everyone—hardly the celebration of victory that a nationalist ideology would be looking for. This film is truly one of the most impressive achievements of the silent era—an unforgettable, spellbinding experience.

In der Filmgeschichte gibt es gibt immer wieder Filme, die als Zeitbilder ihrer Entstehungsepoche gesehen werden, als würden sie die Stimmung, Themen, Leidenschaften, das Lebensgefühl etwa eines Jahrzehnts in sich verkörpern. „Ausser Atem“ von Jean-Luc Godard, „Die Fahrraddiebe“ von Vittorio de Sica sind Beispiele dafür. Und sicherlich gehört „Dr. Mabuse, der Spieler“ von Fritz Lang auch in diese Reihe. Die nervöse, verruchte, ekstatische und anarchische Weimarer Republik bekommt mit diesem zweiteiligen insg. 4 ½ stündigen Film ein Denkmal gesetzt, weshalb es nicht verwundert, dass die Erfolgsserie “Babylon Berlin” sich immer wieder vor diesem Stummfilm verneigt. Dr. Mabuse ist ein Meisterverbrecher, Manipulator, Hypnotiseur, Spieler, ein Mann mit tausend Gesichtern, einem weit verzweigten Verbrechernetzwerk, der die Börse manipuliert, mit Immobilien spekuliert und dabei weniger von finanziellem Gewinn getrieben ist, sondern vor allem von der Freude am Spiel. Am 27. April 1922 feierte der erste Teil Premiere in Berlin und einen triumphalen Erfolg. Für den Regisseur Fritz Lang und die Drehbuchautorin Thea von Harbou ebnete er den Weg zu weiteren gemeinsamen Großproduktionen. Mit der Filmkritik aus der BZ. am Mittag vom 28. April folgt für uns Paula Leu den Spuren des Dr. Mabuse.

Auch Film ist Text. Seine narrative Organisation macht ihn zur Literatur und verbindet den Film beispielsweise mit dem Roman und dem Comic. Der Film teilt als Kunstwerk außerdem zahlreiche Charakteristika mit anderen Texttypen. Das ist Grund genug, in diesem dreifachen Podcast in Kooperation mit der Karl Graf Spreti Stiftung in der Katholischen Akademie in Bayern auf das Jahr 1935 zu blicken, in dem sich Karl Graf Spreti aus seiner Heimat Bayern auf den Weg nach Indien machte. Frisch aus dem Studium hatte er das Angebot erhalten, als Filmarchitekt bei den Bombay Talkies Studios zu arbeiten, die im Jahr zuvor von Himansu Rai, einem frühen Star des indischen Films, gegründet worden waren und die zum Vorläufer von „Bollywood“ wurden. Neben und mit Spreti wirkten dort als Pioniere des frühen indischen Films der Regisseur Franz Osten und der Kameramann Josef Wirsching. Während Spreti 1938 nach Deutschland zurückkehrte, blieb Wirsching auf dem Subkontinent und Osten kehrte immer wieder dorthin zurück. Das achte Karl Graf Spreti Symposium beleuchtet ausgewählte Aspekte ihres Schaffens und ihrer Bedeutung und ordnet diese in einen übergeordneten (kultur-)historischen Kontext ein. Dabei ist auch nach der Relevanz der Filmindustrie für die indische Gesellschaft sowie nach Stereotypen über das Land im Deutschland der 1920er und 1930er Jahre zu fragen. Diesen Part übernimmt Dr. Georg Lechner, der einen Überblick über die historische Entwicklung Indiens im 20. Jahrhundert gibt und ausführlich auf den monumentalen Stummfilm “Das indische Grabmal” von Joe May, sowie spätere Neuverfilmungen des Stoffs von Thea von Harbou, u.a. “Der Tiger von Eschnapur”, eingeht. PD Jörg Zedler stellt den Bestand der Briefe Karl Graf von Spretis in den Mittelpunkt seines Vortrags; Briefe, auf die er gleichwohl eher zufällig stieß: Im Rahmen einer ganz anders gearteten Forschung, entdeckte er im Staatsarchiv Pilsen rd. 100 Schreiben, die Spreti zwischen 1935 und 1938 an seine Eltern richtete, während er als Filmarchitekt der Bombay Talkies Filmstudios in Indien weilte. Prof. Harald Fischer-Tiné, Professor für Geschichte der modernen Welt an der ETH Zürich, referiert zu den Themenbereichen Politische und soziale Umwälzungen im spätkolonialen Indien und die Entstehung von Bombays Filmindustrie (1900-1950). Die Karl Graf Spreti Stiftung wurde 2008 mit dem Ziel eingerichtet, die Außenbeziehungen Bayerns in wissenschaftlicher, künstlerischer und kultureller Hinsicht zu fördern. Sie trägt den Namen des deutschen Diplomaten bayerischer Herkunft, der in Ausübung seines Amtes 1970 in Guatemala ermordet wurde. Prof. Dr. Harald Fischer-Tiné habilitierte in Heidelberg und war danach Professor of History an der Jacobs University Bremen. Seit 2008 ist er Professor für Geschichte der modernen Welt an der ETH Zürich.

Auch Film ist Text. Seine narrative Organisation macht ihn zur Literatur und verbindet den Film beispielsweise mit dem Roman und dem Comic. Der Film teilt als Kunstwerk außerdem zahlreiche Charakteristika mit anderen Texttypen. Das ist Grund genug, in diesem dreifachen Podcast in Kooperation mit der Karl Graf Spreti Stiftung in der Katholischen Akademie in Bayern auf das Jahr 1935 zu blicken, in dem sich Karl Graf Spreti aus seiner Heimat Bayern auf den Weg nach Indien machte. Frisch aus dem Studium hatte er das Angebot erhalten, als Filmarchitekt bei den Bombay Talkies Studios zu arbeiten, die im Jahr zuvor von Himansu Rai, einem frühen Star des indischen Films, gegründet worden waren und die zum Vorläufer von „Bollywood“ wurden. Neben und mit Spreti wirkten dort als Pioniere des frühen indischen Films der Regisseur Franz Osten und der Kameramann Josef Wirsching. Während Spreti 1938 nach Deutschland zurückkehrte, blieb Wirsching auf dem Subkontinent und Osten kehrte immer wieder dorthin zurück. Das achte Karl Graf Spreti Symposium beleuchtet ausgewählte Aspekte ihres Schaffens und ihrer Bedeutung und ordnet diese in einen übergeordneten (kultur-)historischen Kontext ein. Dabei ist auch nach der Relevanz der Filmindustrie für die indische Gesellschaft sowie nach Stereotypen über das Land im Deutschland der 1920er und 1930er Jahre zu fragen. Diesen Part übernimmt Dr. Georg Lechner, der einen Überblick über die historische Entwicklung Indiens im 20. Jahrhundert gibt und ausführlich auf den monumentalen Stummfilm “Das indische Grabmal” von Joe May, sowie spätere Neuverfilmungen des Stoffs von Thea von Harbou, u.a. “Der Tiger von Eschnapur”, eingeht. PD Jörg Zedler stellt den Bestand der Briefe Karl Graf von Spretis in den Mittelpunkt seines Vortrags; Briefe, auf die er gleichwohl eher zufällig stieß: Im Rahmen einer ganz anders gearteten Forschung, entdeckte er im Staatsarchiv Pilsen rd. 100 Schreiben, die Spreti zwischen 1935 und 1938 an seine Eltern richtete, während er als Filmarchitekt der Bombay Talkies Filmstudios in Indien weilte. Prof. Harald Fischer-Tiné, Professor für Geschichte der modernen Welt an der ETH Zürich, referiert zu den Themenbereichen Politische und soziale Umwälzungen im spätkolonialen Indien und die Entstehung von Bombays Filmindustrie (1900-1950). Die Karl Graf Spreti Stiftung wurde 2008 mit dem Ziel eingerichtet, die Außenbeziehungen Bayerns in wissenschaftlicher, künstlerischer und kultureller Hinsicht zu fördern. Sie trägt den Namen des deutschen Diplomaten bayerischer Herkunft, der in Ausübung seines Amtes 1970 in Guatemala ermordet wurde. PD Dr. Jörg Zedler ist Privatdozent für Bayerische Landesgeschichte an der Universität Regensburg. Sein Spektrum an wissenschaftlicher Forschung ist weit gefächert, reicht von der Frühen Neuzeit bis ins ausgehende 20. Jahrhundert. Seit langem beschäftigt er sich u.a. auch mit Aspekten der Adelsgeschichte.

Auch Film ist Text. Seine narrative Organisation macht ihn zur Literatur und verbindet den Film beispielsweise mit dem Roman und dem Comic. Der Film teilt als Kunstwerk außerdem zahlreiche Charakteristika mit anderen Texttypen. Das ist Grund genug, in diesem dreifachen Podcast in Kooperation mit der Karl Graf Spreti Stiftung in der Katholischen Akademie in Bayern auf das Jahr 1935 zu blicken, in dem sich Karl Graf Spreti aus seiner Heimat Bayern auf den Weg nach Indien machte. Frisch aus dem Studium hatte er das Angebot erhalten, als Filmarchitekt bei den Bombay Talkies Studios zu arbeiten, die im Jahr zuvor von Himansu Rai, einem frühen Star des indischen Films, gegründet worden waren und die zum Vorläufer von „Bollywood“ wurden. Neben und mit Spreti wirkten dort als Pioniere des frühen indischen Films der Regisseur Franz Osten und der Kameramann Josef Wirsching. Während Spreti 1938 nach Deutschland zurückkehrte, blieb Wirsching auf dem Subkontinent und Osten kehrte immer wieder dorthin zurück. Das achte Karl Graf Spreti Symposium beleuchtet ausgewählte Aspekte ihres Schaffens und ihrer Bedeutung und ordnet diese in einen übergeordneten (kultur-)historischen Kontext ein. Dabei ist auch nach der Relevanz der Filmindustrie für die indische Gesellschaft sowie nach Stereotypen über das Land im Deutschland der 1920er und 1930er Jahre zu fragen. Diesen Part übernimmt Dr. Georg Lechner, der einen Überblick über die historische Entwicklung Indiens im 20. Jahrhundert gibt und ausführlich auf den monumentalen Stummfilm “Das indische Grabmal” von Joe May, sowie spätere Neuverfilmungen des Stoffs von Thea von Harbou, u.a. “Der Tiger von Eschnapur”, eingeht. PD Jörg Zedler stellt den Bestand der Briefe Karl Graf von Spretis in den Mittelpunkt seines Vortrags; Briefe, auf die er gleichwohl eher zufällig stieß: Im Rahmen einer ganz anders gearteten Forschung, entdeckte er im Staatsarchiv Pilsen rd. 100 Schreiben, die Spreti zwischen 1935 und 1938 an seine Eltern richtete, während er als Filmarchitekt der Bombay Talkies Filmstudios in Indien weilte. Prof. Harald Fischer-Tiné, Professor für Geschichte der modernen Welt an der ETH Zürich, referiert zu den Themenbereichen Politische und soziale Umwälzungen im spätkolonialen Indien und die Entstehung von Bombays Filmindustrie (1900-1950). Die Karl Graf Spreti Stiftung wurde 2008 mit dem Ziel eingerichtet, die Außenbeziehungen Bayerns in wissenschaftlicher, künstlerischer und kultureller Hinsicht zu fördern. Sie trägt den Namen des deutschen Diplomaten bayerischer Herkunft, der in Ausübung seines Amtes 1970 in Guatemala ermordet wurde. Dr. Georg Lechner, langjähriger Leiter von deutschen Kulturinstituten in Asien, Nordamerika und Europa, ist als Buchautor, Essayist und Dokumentarfilmer tätig. Er blickt auf 25 Jahre in Indien zurück, ein “Land der Gegensätze”.

BIBLIOTECA SUBMERSA é a nova série de episódios do Podcast da Raphus Press, uma ironia bastante séria com o conceito de canônico e marginal, de popular e elitista, de aceito e não aceito, a partir das obras de autores que, aparentemente, tinham alguma influência (ou relevância) de certas obras ou autores no passado e que, hoje, parecem ausentes das livrarias, cadernos culturais, canais de vídeo na Internet. Nossa inspiração é Jorge Luis Borges e uma conhecida citação de Virginia Woolf: “Livros usados são selvagens, destituídos; surgem em grandes bandos de penas variadas e possuem certo encanto que falta aos volumes domesticados de uma biblioteca.” Acervo revisto de hoje: O apocalipse de classe média (“Metrópolis”, de Thea von Harbou) Obras citadas: “Telefone” e “A catástrofe da impontualidade”, de Luiz Nazario; “Metrópolis”, de Thea von Harbou; “The Nights of Tino of Baghdad”, de Else Lasker-Schüler; . O livro “The Three Prose Works” de Else Lasker-Schüler já se encontra disponível para venda no site da editora Rixdorf: https://www.rixdorfeditions.com/three-prose-works. O artigo “A catástrofe da impontualidade” está disponível neste link: https://luiznazario.blog/2013/08/08/a-catastrofe-da-impontualidade/. Entre para a nossa sociedade, dedicada à bibliofilia maldita e ao culto de tenebrosos grimórios: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html). Nosso podcast também está disponível nas seguintes plataformas: - Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs - Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4 - Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus. Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.

The Afterparty renouvelée pour une saison 2 La comédie d'Apple TV+ whodunnit vient d'être renouvelée pour une saison 2. Après cette première enquête réussie, l'inspectrice Detective Danne (Tiffany Haddish) repartira pour une nouvelle enquête dans The Afterparty. Une nouvelle série pour le créateur de Mr Robot Apple TV+ a commandé une saison de Metropolis, un nouveau drama mystérieux par Sam Esmail, le créateur de Mr. Robot. Il s'agit d'une revisite du film de Fritz Lang de 1927 qui était déjà une adaptation du roman de Thea von Harbou de 1925. Comment Sam Esmail va-t-il réactualiser ce classique ? De nouveaux noms pour la série Pitch Perfect L'adaptation en série par Peacock de la franchise Perfect s'étoffe un peu plus. Ainsi, ce sont Sarah Hyland (Modern Family), Jameela Jamil (The Good Place) et Lera Abova qui rejoindront Adam Devine (Bumper de Pitch Perfect). Bumper a déménagé en Allemagne où l'une de ses chansons a été un hit inattendu. Il tente donc de lancer sa carrière tant bien que mal à l'aide de son assistante (Hyland). Un départ dans Legends of Tomorrow (spoiler) Legends of Tomorrow n'a pas encore été officiellement renouvelée pour sa saison 8 par la CW, mais en tout cas, on sait déjà que Nick Zano qui joue Nate Heywood depuis la saison 2 ne sera pas de la partie. Son personnage a connu un très beau départ en tout cas dans le bonheur. https://www.instagram.com/p/CapdZj_Ft51/ Grey's Anatomy perd un docteur (spoiler) On commence par la mauvaise nouvelle de Grey's Anatomy, l'acteur Richard Flood qui était arrivé en milieu de saison 16 dans le rôle du Dr Cormac Hayes a rendu sa blouse cette saison dans l'épisode 10 de la saison 18. Il avait intégrer la série pour potentiellement engager une romance avec Meredith Grey mais le personnage n'aura jamais su gagner les faveurs du public. La bonne nouvelle c'est que Skylar Astin (Zoey et son incroyable playlist) débarquera pour plusieurs épisodes dans la saison 18 en jouant le frère d'une patiente de Jo. À voir pour plus de détails… Le reboot de Code Quantum a trouvé son acteur principal Ce sera Raymond Lee vu dans Kevin Can Fck Himself qui succèdera à Scott Bakula dans le reboot de Code Quantum. Il y campera le Dr Ben Seong, un physicien reconnu qui travaille sur le projet Code Quantum le successeur spirituel du Dr Sam Beckett. NBC n'a commandé qu'un pilot pour le moment. The Big Leap est annulée Le petit coup de cœur de l'année dans son optimisme et sa qualité artistique a été annulée par la Fox. Les danseurs de The Big Leap ne reviendront pas pour une saison 2. Bien heureusement la saison 1 se suffit à elle-même et reste disponible sur Disney+.

This month's horror adjacent episode is on Fritz Lang's M (1931) starring Peter Lorre! The history of Lang and his collaborator Thea von Harbou is long and intricate, so buckle up for a wild ride! Plus, your deadicated hosts dabble in true crime with coverage of serial killer Peter Kürten, the Vampire of Düsseldorf. Context setting 00:00; Synopsis 1:10:21; Discussion 1:20:53

Director:  Fritz Lang Producer:  Erich Pommer Screenplay:  Thea von Harbou, Fritz Lang Photography:  Karl Freund, Gunther Rittau, Walter Ruttmann Music:  Gottfried Huppertz Cast:  Brigitte Helm, Alfred Abel, Gustav Frohlich, Rudolf Klein-Rogge, Fritz Rasp Rotten Tomatoes:  Critics: 97%/Audience: 92%

MacroMicroCosm Literary Review takes on Metropolis directed by Fritz Lang written by Thea von Harbou. Like it? You'll love NEON Lieben by Sapha Burnell. Join our Discord Server. 

Finn and Uther watch M (1931), a pioneering film of the early sound era about criminals trying to track down a serial killer before the police, and, The Zodiac Killer (1971) a film made by a restaurant owner who wanted to make the actual Zodiac Killer so mad he'd try and kill people at a screening.We discuss the fascist undertones in the films of Fritz Lang and Thea von Harbou, how The Zodiac Killer compares to Zodiac (2006), and whether Cruella (2021) is a psyop. Uther asserts his dominance while Finn continues his quest to see every film from 1971. See acast.com/privacy for privacy and opt-out information.

Lei segni, non si preoccupi L'immagine è tratta dal film "Metropolis" (regia Fritz Lang-soggetto Thea von Harbou-etichetta Universum Film-1927 all rights reserved)

Metropolis Metropolis is a 1927 German expressionist science-fiction drama film directed by Fritz Lang. Written by Thea von Harbou in collaboration with Lang, it stars Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge, and Brigitte Helm. Erich Pommer produced it in the Babelsberg Studios for Universum Film A.G. The silent film is regarded as a pioneering science-fiction movie, being among the first feature-length movies of that genre. This is a challenging film for some as it is a silent feature, however we certainly talk a lot about it. The Space Brains discuss the central themes, the conflict with Nazi Germany, the edited versions and the strong message of hope at the core. On the science side of things, we discuss real-life examples of underground cities and underground constructions.  To Hear the Episode: https://gravityundone.net/episode-55-metropolis/ For all other Space Brains Episodes: https://gravityundone.net/space-brains/  Contact us: Space Brains Podcast (@spacebrainspodcast) Space Brains Podcast - Home spacebrains@gravityundone.net Space Brains is recorded in Mandurah, Western Australia. Visit: https://gravityundone.net/ https://www.markregan.com.au/

Director:  Fritz Lang Producer:  Erich Pommer Screenplay:  Thea von Harbou, Fritz Lang Photography:  Karl Freund, Gunther Rittau, Walter Ruttmann Music:  Gottfried Huppertz Cast:  Brigitte Helm, Alfred Abel, Gustav Frohlich, Rudolf Klein-Rogge, Fritz Rasp Rotten Tomatoes:  Critics: 97%/Audience: 92%

Take a trip inside the world of wires and computer controlled civilization in the 1971 release of THX-1138, the first feature length film by George Lucas. An experimental sci-fi excursion to a future society governed by consumerism and android police officers. Join Jeff Bugbee and Dominic D’Angelo and ponder the mostly avant-garde film from the early 70’s. Forthcoming Film Fest: Brussels International Fantastic Film Festival (BIFFF) April 06th through 18th - www.bifff.net/ Movie Magic Minutes and Women’s History Month: Thea von Harbou - https://wfpp.columbia.edu/pioneer/ccp-thea-von-harbou/ Film School Fact: Framing the Shot - Camera Shots https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/ https://en.wikipedia.org/wiki/American_shot Check out Film Church on the web: https://filmchurch.org

We welcome back our old friends from Berlin Luna City Express. Norman and Marco just rereleased their classic Mr Jack on Moon Harbour. Tracklist: 01. Freedom B - Percomaniacs - Bambaataa (Luna City Express Remix) // Luna City Express_Welcome To The Orbit_(Original_Mix) 02. Alex Smith & Lewis Jimenez - Shhhh (LCE Prophet Mix) 03. Luna City Express - Work Together 04. Luna City Express - Tribalism Disco 05. Luna City Express - The Soul Of A DJ feat. Roland Clark (Original Mix) 06. Luna City Express - Gimme Some More 07. Luna City Express - Think About You 08. Luna City Express - Monday At Holzmarkt 09. Luna City Express - Guiding Light 10. Luna City Express - Feel Me 11. Dario D'Attis - Nesselfieber (Luna City Express Human Civilisation Edit) 12 .Luna City Express - Full Force (Original_Mix) // Luna City Express - Mr. Jack BeatMix 13. Luna City Express - Neon Frame 14. Luna City Express - Delight 15. Of Norway - 1 4 Messi (Luna City Express House Rework)

This week on Total Movie Recall, we watched the Sophie's Choice of talking pig movies — Babe: Pig in the City. You might remember it as a sweet children's fantasy movie about cute talking animals, but that's just your brain trying to protect you from the harrowing nightmare that is this film. Dogs are hung from chains and drowned in front of us. Crippled Jack Russell Terriers are killed and teased with the sweet release from their worldly limitations, only to be cruelly pulled back into their wheelchair prison. Ryan and Steve started this movie as boys, but left it as men. Depressed, traumatized men. Babe: Pig in the City (1998) d. George Miller Starring: Magda Szubanski Elizabeth Daily Mickey Rooney  James Cromwell Mary Stein When Babe accidentally puts farmer Hoggett (James Cromwell) in traction, the debtors come looking for their payments. In order to pay their debt, Mrs. Hoggett (Magda Szubanski) sends Babe off across the ocean to the city to demonstrate his talents as a sheep herder. Along with his friends, Babe meets a lot of new friends and gets into new adventures. Things discussed in the show: Mad Max Fury Road (George Miller, Brendan McCarthy, Tom Hardy, Charlize Theron, Nicholas Hoult) Lorenzo's Oil (George Miller, Nick Enright, Nick Nolte, Susan Sarandon, Peter Ustinov) True History of the Kelly Gang (Justin Kurzel, Shaun Grant, George MacKay, Essie Davis, Nicholas Hoult) Chopper (Andrew Dominik, Eric Bana, Simon Lyndon, Vince Colosimo) MacBeth (Justin Kurzel, Todd Louiso, Jacob Koskoff, Michael Fassbender, Marion Cotillard, Jack Madigan) Assassins Creed (Justin Kurzel, Michael Lesslie, Adam Cooper, Michael Fassbender, Marion Cotillard, Jeremy Irons) Tomb Raider (Roar Uthaug, Alicia Vikander, Dominic West, Walton Goggins) Super Mario Brothers (Annabel Jankel, Rocky Morton, Bob Hoskins, John Leguizamo, Dennis Hopper) Dark Waters (Todd Haynes, Mark Ruffalo, Anne Hathaway, Tim Robbins) Erin Brockavich (Steven Soderbergh, Susannah Grant, Julia Roberts, Albert Finney, David Brisbin) Waiting for Guffman (Christopher Guest, Eugene Levy, Catherine O'Hara, Fred Willard, Parker Posey, David Cross) A Mighty Wind (Christopher Guest, Eugene Levy, Michael McKean, Catherine O'Hara, Jane Lynch, Fred Willard, Ed Begley Jr.) Best in Show (Christopher Guest, Fred Willard, Eugene Levy, Catherine O'Hara, Parker Posey, Michael Hitchcock, Michael McKean, John Michael Higgins) This is Spinal Tap (Rob Reiner, Christopher Guest, Michael McKean, Harry Shearer, Tony Hendra) Party Girl (Daisy von Scherler Mayer, Harry Birckmayer, Parker Posey, Omar Townsend, Anthony DeSando) The Evil Dead (Sam Raimi, Bruce Campbell, Ellen Sandweiss, Richard DeManincor, Ted Raimi, Ivan Raimi) All of Me (Carl Reiner, Steve Martin, Lily Tomlin, Victoria Tennant) The Jerk (Carl Reiner, Steve Martin, Carl Gottlieb, Bernadette Peters, Catlin Adams) Palm Springs (Max Barbakow, Andy Siara, Andy Samberg, Cristin Milioti, J.K. Simmons) The Lonely Island Popstar Never Stop Never Stopping (Akiva Schaffer, Jorma Taccone, Andy Samberg, Sarah Silverman, Tim Meadows, Maya Rudolph, Joan Cusack) Hot Rod (Akiva Schaffer, Pam Brady, Andy Samberg, Isla Fisher, Ian McShane) Groundhog Day (Harold Ramis, Danny Rubin, Bill Murray, Andie MacDowell, Chris Elliott) Happy Death Day (Christopher Landon, Scott Lobdell, Jessica Rothe, Israel Broussard, Ruby Modine) Happy Death Day 2U (Christopher Landon, Scott Lobdell, Jessica Rothe, Israel Broussard, Phi Vu) Edge of Tomorrow (Doug Liman, Christopher McQuarrie, Jez Butterworth, Tom Cruise, Emily Blunt, Bill Paxton) Tenacious D Avatar the Last Airbender (Michael Dante DiMartino, Bryan Konietzko, Zach Tyler, Jack De Sena, Dee Bradley Baker, Dave Filoni, Lauren MacMullan, Mae Whitman, Dante Basco, Michaela Jill Murphy) David Filoni (Star Wars Rebels & Star Wars Clone Wars) Dragonball Z (Piccolo, Goku, Krillin, Vegeta, Gohan, Hercule, Bulma) Regular Show (J.G. Quintel, William Salyers, Sam Marin) Mad Max (1979) Mad Max Beyond Thunderdome (George Miller, George Ogilvie, Terry Hayes, Mel Gibson, Tina Turner, Bruce Spence) Babe (Chris Noonan, Dick King-Smith (novel), George Miller (screenplay), James Cromwell, Magda Szubanski, Christine Cavanaugh) Contact (Robert Zemeckis, Jodie Foster, Matthew McConaughey, Tom Skerritt) Mommie Dearest (Frank Perry, Christina Crawford (book), Frank Yablans (screenplay), Faye Dunaway, Diana Scarwid, Steve Forrest) There Will be Blood (Paul Thomas Anderson, Daniel Day-Lewis, Paul Dano, Ciarán Hinds) Garth Ennis - The Punisher Frank Miller - Sin City German Expressionism Metropolis (Fritz Lang, Thea von Harbou, Brigitte Helm, Alfred Abel, Gustav Fröhlich) John Wayne Gacy Indiana Jones and the Temple of Doom (Steven Spielberg, Harrison Ford, Kate Capshaw, Ke Huy Quan) Schindler's List (Steven Spielberg, Liam Neeson, Ralph Fiennes, Ben Kingsley) Sophie's Choice (Alan J. Pakula, Meryl Streep, Kevin Kline, Peter MacNicol) James Cromwell & PETA W. (Oliver Stone, Stanley Weiser, Josh Brolin, Elizabeth Banks, Ioan Gruffudd) Next Week: Scarface

A special thank you to 01101000 01101001 01110100 01101100 01100101 01110010 for joining us on this episode. Metropolis by Thea von Harbou (1925) vs We Are Legion (We Are Bob) by Dennis E. Taylor (2016)

On today’s episode, I talked with Heather Reed, who picked 1931’s M or M: Eine Stadt zukt einen Morder, which was directed by Fritz Lang, and was written alongside his wife, Thea von Harbou who both worked together previously on his Dr. Mabuse series, the five-hour-long Die Nibelungen Saga, and possibly the most influential Science-Fiction film of all time, Metropolis. M starring Hollywood icon before he was one, Peter Lorre follows the story of Hans Beckert, a child murderer who is tracked down by both the German Authorities and the criminal underworld. M is considered to be the first in the serial killer slasher film genre. So sit back relax, and enjoy the show. You can purchase M here. Cinemallennials is a podcast where myself and another millennial are introduced to a classic film for the very first time ranging from the birth of cinema to the 1960s. Myself and my guest will open your eyes to the vast landscape of classic film as we discuss the films' performers, their performances, those behind the camera, and how they and their films still influence our world today. Website: dlewmoviereview.com/ Social Media: Facebook: facebook.com/dlewmoviereviews/ Twitter: twitter.com/dlewmoviereview Instagram: @dlew88 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

«Die Mörder sind unter uns» lautete der Arbeitstitel von Fritz Langs berühmtem Film «M» von 1931. Er spiegelt die Ambivalenz, mit der Lang und Thea von Harbou die Jagd auf den Serienmörder Hans Beckert schildern. Die eigentliche Hauptrolle spielt die zutiefst verunsicherte Metropole, deren Bevölkerung von den Kriegserlebnissen und der Weltwirtschaftskrise gezeichnet ist. In der Adaption durch den Musiker und Theatermacher Schorsch Kamerun (Die Goldenen Zitronen) und die Komponistin Cathy van Eck wird dieses Verhältnis umgedreht und der Film zur Konzertinstallation, der Stoff zur Folie der Gegenwart. Unserer weiteren Themen: Wie gefährlich ist Kulturarbeit im Irak? Zur Entführung der Bagdader Kuratorin Helga Mewis / Klassikerin der Gegenwartskunst: Münchner Pinakothek der Moderne zeigt "Astrid Klein" / "Solange bunte Balken durchlaufen": Das jüngste Projekt des Musikerkollektiv Alligator Gozaimasu

Diese mal entfernen wir uns endgültig von hippen und jungen Podcast-Themen und das obwohl es ins Crime-Genre geht. Wir werfen einen Blick auf einen filmischen Klassiker des deutschen Kinos und dessen Neuinterpretation in Form einer sechsteiligen Serie.  Titel (deutsch): M – Eine Stadt sucht einen MörderJahr: 1931 / 2019Regie: Fritz Lang / David SchalkoDrehbuch: Thea von Harbou, Fritz Lang […]

With water restrictions being placed on Auckland and Northland due to drought, should urban dwellers be storing rainwater for irrigation and non-potable use when the weather gets dry?

With water restrictions being placed on Auckland and Northland due to drought, should urban dwellers be storing rainwater for irrigation and non-potable use when the weather gets dry?

Ajude nosso novo projeto no Catarse: https://www.catarse.me/sortilegios_incantations. Apoie o canal: https://apoia.se/podcastdaraphus. Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html. Episódio XXXIII - O fantástico mórbido (parte 2) – “Metrópolis”, de Thea von Harbou “Os homens estão de pé no meio das praças Olham nos céus os sinais portentosos, E os cometas, com fogo nas asas, Rondam torres dentadas, ominosos” (“Umbra Vitae”, de Georg Heym) Trigésimo terceiro episódio do Podcast da editora Raphus Press: Era para ser uma breve interrupção na série sobre “Frankenstein”, esses espantoso mito moderno. Mas não conseguimos: ao tratar de “Metrópolis”, de Thea von Harbou e de sua estética, que propomos definir como “fantástico mórbido”, percebemos que tal obra, ao rechaçar a mistura como degradação e exaltar o martírio como purificação sagrada mesmo quando ele é apenas um efeito de suspense, descobrimos nele, no romance da autor alemã, o “Anti-Frankenstein”. Indicações bibliográficas: - Barrento, João (org.). A alma e o caos: 100 poemas expressionistas. Lisboa: Relógio D’Água Editores, 2001. - Harbou, Thea von. Metrópolis. São Paulo: Aleph, 2019 (https://www.editoraaleph.com.br/metropolis/p). - Merkel, Ulrich (org.). Teatro e Política: poesias e peças do expressionismo alemão. Rio de Janeiro: Paz e Terra, 1983. - Nazario, Luiz (org.). A cidade imaginária. São Paulo: Perspectiva, 2005 (http://www.editoraperspectiva.com.br/index.php?apg=detalhe&idc=757&uid=07272017115805087064249066). - Stenbock, Eric (Count). Of Kings and Things. London: Strange Attractor Press, 2018 (http://strangeattractor.co.uk/shoppe/of-kings-and-things/). E não se esqueça de colaborar com o projeto de “Presunção, ou A Sina de Frankenstein”, já disponível na plataforma Catarse: https://www.catarse.me/frankenstein. Música: “Homenaje pour le tombeau de Debussy”, de Manuel de Falla, executado por Aitua (via http://freemusicarchive.org/). Nosso podcast também está disponível nas seguintes plataformas: - Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs - Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4 - Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D

Dziś przedstawiamy Wam pierwszy odcinek miniserii o miastach w filmach science-fiction; o przestrzeni miejskiej, architekturze i wszystkim co związane. Przez sześć odcinków będziemy się skupiać na filmach w których miasto jest w szczególny sposób istotne dla fabuły, albo których wizje miast były wyjątkowo nowatorskie i/lub miały istotny wpływ na późniejsze filmy. Niejako inspirując się filmem, który dziś omawiamy, i w którym preludium trwa prawie 1/3 całego filmu, zaczynamy naszą dyskusję od omówienia ekspresjonizmu filmowego, przemijalności rzeczy materialnych, powiązań filmowców z Nazistami, a także—w końcu—o mieście w Metropolis. Bo miasto przedstawione w tym pierwszym pełnometrażowym filmie sci-fi fascynuje i zachwyca do dziś. Chodźcie wraz z nami na wycieczkę z oprowadzaniem po mieście i jego zakątkach, od lat 20-tych do współczesności! Najważniejsze omawiane filmy: Metropolis (1927), reż: F. Lang; scenariusz: T. von Harbou (na podstawie swojej książki); muzyka: G. Huppertz; w rolach głównych: A. Abel, G. Fröh, R. Klein-Rogge, B. Helm; prod. UFA/Parufamet. Rekomendacje: Kuba: Film Borderline (1930) szwajcarskiej awangardowej grupy filmowej Pool Group z Paulem Robesonem w roli głównej, w tej wersji ze współczesną aranżacją jazzową. Damian: Skrócona, pokolorowana i bardzo dyskotekowa wersja Metropolis w aranżacji Giorgio Morodera z 1984 roku. Czytaj więcej: Sffilmhistory: The Influence of Fritz Lang’s ‘Metropolis’ on Future Films Screened: Under The Influence: Metropolis One Hundred Years of Cinema: 1927: Metropolis - How Cinema Changed the Way We See the Future Criterion Channel: German Expressionism The Navigators: R.U.R. and the Invention of Science Fiction on Stage! Creditsy: NERDYCJA jest prowadzona i produkowana przez Kubę i Damiana. Miks audio: Damian. Oprawa graficzna: Damian, zdjęcie Saturna z Nasa Images. Piąta symfonia Beethovena jest dostępna w domenie publicznej. Kontakt: nerdycja@gmail.com. Używamy fragmentów utworów Fearless First, Thinking Music, Classic Horror 1, Holiday Weasel, Amazing Plan, Funky One, District Four, Cold Funk oraz Slow Burn skomponowanych przez Kevina MacLeoda; wszystkie utwory dostępne pod https://incompetech.filmmusic.io/artists/kevin-macleod na bazie licencji Creative Commons Attribution-ShareAlike 4.0 International.

Apoie o canal: https://apoia.se/podcastdaraphus. Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html. E colabore (pelos menos, divulgue) com nosso novo projeto no Catarse: https://www.catarse.me/mater_e_restos_de_sombra. Episódio XXV - A hipótese do fantástico mórbido (ou patológico) “Só então se reconheceu a presença da Morte Rubra. Viera como um ladrão na noite. E, um a um, caíram os foliões nos ensanguentados salões da orgia, e morreram, conservando a mesma desesperada postura da queda. E a vida do relógio de ébano extinguiu-se simultaneamente com a do último dos foliões. E as chamas dos trípodes apagaram-se. E a Escuridão, a Ruína e a Morte Rubra estenderam seu domínio ilimitado sobre tudo.” (“A máscara da Morte Rubra”, de Edgar Allan Poe) Vigésimo quinto episódio do Podcast da editora Raphus Press: Os caminhos do fantástico são como aqueles descritos por William Blake (em seus “Provérbios do Inferno”) como os caminhos do gênio – tortuosos, inquietantes, desconfortáveis, sem a retidão do progresso. E um desses caminhos apresenta a morbidez não tanto como tema, mas como instrumento de sentido dentro de um intrincado conjunto de fatores ideológicos, de efeitos de sentido. Minha hipótese é que, nesse caso, estamos diante do que chamo de “fantástico mórbido (ou patológico)”. O corpus usado aqui: trechos de “Metrópolis” de Thea Von Harbou e de “The Sorcerer’s Apprentice” de Hanns Heinz Ewers. Indicações bibliográficas: - Ewers, Hanns Heins. La Mandrágora. Madrid: Valdemar, 1993 (http://www.valdemar.com/product_info.php?manufacturers_id=68&products_id=787). - Idem. The Sorcerer’s Apprentice. Newcastle Upon Tyne: Side Real Press, 2019 (http://www.siderealpress.co.uk). - Harbou, Thea Von. Metrópolis. São Paulo: Aleph, 2019 (https://www.editoraaleph.com.br/metropolis/p). Música: “Homenaje pour le tombeau de Debussy”, de Manuel de Falla, executado por Aitua (via http://freemusicarchive.org/).

S4E11B* (Show Notes) “2001: A Space Odyssey (1968)” by Arthur C. Clarke (book)   Hosted by: Ryan Sean O'Reilly Guests: John Doyle a/k/a Dole (Musician: Theurgy - I Decline) Rich Bacon (speculative fiction fan)    Website: www.nodeodorant.com   Related Episode Links: “2001: A Space Odyssey (1968)” by Stanley Kubrick (movie) “The Haunting of Hill House (2018)” by Mike Flanagan (Kate Siegel) (netflix series) “Metropolis (1925)” by Thea von Harbou (book) “Solaris (1961)” by Stanislaw Lem (book) “Carrie (1974)” by Stephen King (book) “Starship Troopers (1997)” by Paul Verhoeven (Casper Van Dien) (movie) “Something Wicked This Way Comes (1962)” by Ray Bradbury (book) “Dune (Dune Chronicles #1) (1965)” by Frank Herbert (book) “The Stepford Wives (1972)” by Ira Levin (book) “Watchmen (1986-1987)” by Alan Moore (writer) / Dave Gibbons (artist) (graphic novel)       * DISCLAIMER: Please be advised that the views and opinions of the hosts and guests of NDIOS are completely their own and do not necessarily reflect the views and beliefs of the other hosts and guests or that of NDIOS.

S4E7M* (Show Notes) “Metropolis (1927)” by Fritz Lang (Alfred Abel) (silent film)   Hosted by: Ryan Sean O'Reilly Guests: James Rauch a/k/a "Beam" (former co-host) Rich Bacon (speculative fiction fan)   Website: www.nodeodorant.com   Related Episode Links: “Metropolis (1925)” by Thea von Harbou (book) “The Call of Cthulhu and Other Weird Stories (1919)” by H.P. Lovecraft (collection of short stories) “Watchmen (1986-1987)” by Alan Moore (writer) / Dave Gibbons (artist) (graphic novel) Click for other episodes featuring: Beam         * DISCLAIMER: Please be advised that the views and opinions of the hosts and guests of NDIOS are completely their own and do not necessarily reflect the views and beliefs of the other hosts and guests or that of NDIOS.    

S4E7B* (Show Notes) “Metropolis (1925)” by Thea von Harbou (book)   Hosted by: Ryan Sean O'Reilly Guests: James Rauch a/k/a "Beam" (former co-host) Rich Bacon (speculative fiction fan)   Website: www.nodeodorant.com   Related Episode Links: “Metropolis (1927)” by Fritz Lang (Alfred Abel) (silent film) “The Savage Tales of Solomon Kane (1928-)” by Robert E. Howard (collection of short stories) “Twenty Thousand Leagues Under the Sea (1870)” by Jules Verne (book) “Nineteen Eighty-Four (1949)” by George Orwell (book) “The Lair of the White Worm (1911)” by Bram Stoker (book) Click for other episodes featuring: Beam         * DISCLAIMER: Please be advised that the views and opinions of the hosts and guests of NDIOS are completely their own and do not necessarily reflect the views and beliefs of the other hosts and guests or that of NDIOS.    

Episode: S4E7P* (Episode Page) (preview for forthcoming episode) “Metropolis (1925)” by Thea von Harbou (book) “Metropolis (1927)” by Fritz Lang (Alfred Abel) (silent film)     Hosted by: Ryan Sean O'Reilly Guests: James Rauch a/k/a "Beam" (former co-host) Rich Bacon (speculative fiction fan)   Website: www.nodeodorant.com   * DISCLAIMER: Please be advised that the views and opinions of the hosts and guests of NDIOS are completely their own and do not necessarily reflect the views and beliefs of the other hosts and guests or that of NDIOS.

„Sie ist eine seltsame Frau, kein schlechter Mensch, immer bereit anderen zu helfen. Aber wenn es um Politik geht, dann sieht es in ihrem Kopf ganz wirr aus. Sie fällt auf alles herein, was Goebbels an Propaganda ausstreut“, schrieb der Schriftsteller Curt Riess über Thea von Harbou. Autorin: Christiane Kopka

Im Klassiker von Fritz Lang, den er gemeinsam mit Thea von Harbou schrieb, gerät eine Stadt unter dem Eindruck eines Kindermörders in eine unkontrollierte Massenbewegung. David Schalko, bekannt u. a. für die Serien "Braunschlag" und "Altes Geld," adaptierte gemeinsam mit Evi Romen den Stoff für eine aktuelle Fernsehserie. Ines Häufler hat mit beiden gesprochen.

Auch wenn der Stummfilm um eine Reise zum Mond vor allem als Science Fiction-Film bekannt wurde, Fritz Lang verarbeitet die unterschiedlichsten Genres und Kunststile kolportagehaft, um vor allem eines zu gewährleisten: Spektakel und Unterhaltung. Hier verbindet Lang mit seiner ganzen filmischen Meisterschaft eine zutiefst moderne und zukunftsgerichtete Welt mit allem, was die kulturell vibrierende Weimarer Republik so anbietet. Wir unterhalten uns darüber, wie ungeheuer komplex sein technischer Zugang zum Kino ist, wie naiv er aber auch nationalistische Töne des verzerrten Kunstmärchens mittransportiert, auch dank seiner Drehbuchautorin und Partnerin Thea von Harbou, die so manche antisemitische Spitze in den Film mit einarbeitet. Insofern ist FRAU IM MOND eben auch ein Kind seiner Zeit.

Metrópolis de Thea von Harbou (1925) es un libro que fue escrito con la intención de ser llevado a las pantallas de cine por Fritz Lang. En este libro, conocemos a Freder, un joven que vive en la moderna ciudad de Metrópolis, un lugar con la más avanzada tecnología del mundo. Esta ciudad es un paraíso para sus habitantes, excepto para aquellos que tienen que trabajar día y noche sin descanso para mantenerla funcionando. Escucha qué tiene de bueno y de malo Metrópolis en este episodio de A la aventura, podcast de libros y lectura. Vota por el libro para el episodio extra de Septiembre http://alaaventura.net/voto-septiembre-2016 Música de entrada: Gymnopedie No. 1 de Erik Satie Música de salida: Jeux D’eau de Maurice Ravel Contacto www.alaaventura.net/contacto www.facebook.com/alaaventurapodcast Twitter: @alaaventura jboscomendoza@gmail.com Ayuda a hacer posible este podcast a través de Patreon http://wwww.patreon.com/alaaventura O compra el libro del que hablamos este episodio http://www.alaaventura.net/libros

"Just you wait, it won’t be long. / The man in black will soon be here / With his cleaver’s blade so true. / He’ll make mincemeat out of you!" When “M,” Fritz Lang’s first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,’ “M” isn’t wall-to-wall talking; instead, Lang used it as a sparse tool to help catch a killer. He balanced quiet moments with abrupt sharp noises. He brought in off-screen noises that affected those on-screen. He had voiceover. And of course, there is the murderer’s whistling of Peer Gynt’s “In the Hall of the Mountain King.” Lang was a master of his craft, and certainly not a director who would be held back by the advent of sound.  Join us – Pete Wright and Andy Nelson – as we continue our Lang series with “M.” We talk about the story of the film, the influences from the time on Lang, and what Lang may have been trying to say about the rise of Nazism. We chat about Peter Lorre in his breakout role and why his child murderer character is so compelling and, yes, sympathetic. We look at the way that Fritz Arno Wagner moved the camera and lit the scenes to capture Lang’s story (once again written by his wife at the time Thea von Harbou). We deliberate on von Harbou’s script and how well it worked in creating a fascinating police procedural but also how Lang’s research into killers may have affected some decisions in the character of Beckert. We talk about the sound and the lack of score with this movie and how the sound actually affected the frame size. We start a new segment called First Shot/Last Shot and look at how the director decided to start and end his story. And we discuss how the rise in Nazism helped some of the actors while hindering others. It’s a film noted as a masterpiece, the best of German cinema, Lang’s finest film. We certainly see the quality here and have a great time talking about it on this week’s show. So give this one a watch – it deserves it – then tune in! Film Sundries Watch this film: iTunes • Amazon • Hulu Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Fritz Lang - the movie Trailers of the Week Andy's Trailer: Tickled — "There are certain documentaries that really thrill me to no end, and those are the ones where it leads you in a completely different direction than you’re expecting it to. This looks like one of those docs. Plus, it’s about one of the strangest subjects I’ve ever encountered – competitive endurance tickling. (Or is it about that? Hmmm…)" Pete's Trailer: Don’t Think Twice — "Keegan-Michael Key and Gillian Jacobs star in this Mike Birbiglia film chronicling the efforts of a New York City improv troupe to get picked up by their fictitious SNL counterparts. Looks funny, with a deceptive dose of heart. Suck it, cynicism."

"Just you wait, it won't be long. / The man in black will soon be here / With his cleaver's blade so true. / He'll make mincemeat out of you!" When “M,” Fritz Lang's first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,' “M” isn't wall-to-wall talking; instead, Lang used it as a sparse tool to help catch a killer. He balanced quiet moments with abrupt sharp noises. He brought in off-screen noises that affected those on-screen. He had voiceover. And of course, there is the murderer's whistling of Peer Gynt's “In the Hall of the Mountain King.” Lang was a master of his craft, and certainly not a director who would be held back by the advent of sound.  Join us – Pete Wright and Andy Nelson – as we continue our Lang series with “M.” We talk about the story of the film, the influences from the time on Lang, and what Lang may have been trying to say about the rise of Nazism. We chat about Peter Lorre in his breakout role and why his child murderer character is so compelling and, yes, sympathetic. We look at the way that Fritz Arno Wagner moved the camera and lit the scenes to capture Lang's story (once again written by his wife at the time Thea von Harbou). We deliberate on von Harbou's script and how well it worked in creating a fascinating police procedural but also how Lang's research into killers may have affected some decisions in the character of Beckert. We talk about the sound and the lack of score with this movie and how the sound actually affected the frame size. We start a new segment called First Shot/Last Shot and look at how the director decided to start and end his story. And we discuss how the rise in Nazism helped some of the actors while hindering others. It's a film noted as a masterpiece, the best of German cinema, Lang's finest film. We certainly see the quality here and have a great time talking about it on this week's show. So give this one a watch – it deserves it – then tune in! Film Sundries Watch this film: iTunes • Amazon • Hulu Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd Fritz Lang - the movie Trailers of the Week Andy's Trailer: Tickled — "There are certain documentaries that really thrill me to no end, and those are the ones where it leads you in a completely different direction than you're expecting it to. This looks like one of those docs. Plus, it's about one of the strangest subjects I've ever encountered – competitive endurance tickling. (Or is it about that? Hmmm…)" Pete's Trailer: Don't Think Twice — "Keegan-Michael Key and Gillian Jacobs star in this Mike Birbiglia film chronicling the efforts of a New York City improv troupe to get picked up by their fictitious SNL counterparts. Looks funny, with a deceptive dose of heart. Suck it, cynicism."

"Isn’t it worth the loss of a hand to have created the man of the future, the Machine-Man—?!” Fritz Lang’s sci-fi classic has really been through the wringer since it’s premiere in 1927. After having been cut nearly in half then reshaped, people have struggled over the decades to restore the 2 ½ hour film to its full glory but to little avail. In 2008, however, a 16mm print of a horribly scratched copy of the nearly full version was found in Buenos Aires and the film was given new life. It’s since been beautifully restored and is a marvel to watch, even with the scratches.  Join us – Pete Wright and Andy Nelson – as we begin our Fritz Lang series with “Metropolis.” We talk about what the film is about, what works in it and what doesn’t, and try to deduce why. We talk about various political directions the story seems to take and how they fit in with the time and place when Lang and his wife/co-writer Thea von Harbou were writing this. We chat about the actors – notably Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge – and what they bring to the table. We debate whether Giorgio Moroder’s rock interpretation of the movie in 1984 has any merit. And we marvel at the stunning effects by Eugen Schüfftan, from the miniatures and stop motion, to the video phone, to the creation of the Machine-Man and the rings of light moving around it.  It’s a film that has inspired countless projects since and is clearly an important piece in the history of cinema, and even though the story is riddled with problems and could likely be condensed to get the same thing across, it’s still well worth a watch. So check out this movie then tune in to this week’s show! Film Sundries Watch this film: Amazon • Netflix • Hulu Original theatrical trailer Original poster artwork Art of the Title Flickchart Letterboxd Trailers of the Week Andy's Trailer: Urge — "I really don’t know if I’m that excited about this movie, but I love seeing Pierce Brosnan in roles where he seems to be playing something drastically different from his Bond persona. That alone piqued my curiosity here and while I won’t be running out to the cinema to catch this one, I think I may watch this some late night just to see how it is." Pete's Trailer: The Shallows — "So, it’s Jaws, but with Blake Lively, plus a bunch of Michael Bay low angle tracking shots. I have a feeling this is going to connect with me on a deeply disturbing level. I’m not proud, but at least I’m honest."

"Isn't it worth the loss of a hand to have created the man of the future, the Machine-Man—?!” Fritz Lang's sci-fi classic has really been through the wringer since it's premiere in 1927. After having been cut nearly in half then reshaped, people have struggled over the decades to restore the 2 ½ hour film to its full glory but to little avail. In 2008, however, a 16mm print of a horribly scratched copy of the nearly full version was found in Buenos Aires and the film was given new life. It's since been beautifully restored and is a marvel to watch, even with the scratches.  Join us – Pete Wright and Andy Nelson – as we begin our Fritz Lang series with “Metropolis.” We talk about what the film is about, what works in it and what doesn't, and try to deduce why. We talk about various political directions the story seems to take and how they fit in with the time and place when Lang and his wife/co-writer Thea von Harbou were writing this. We chat about the actors – notably Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge – and what they bring to the table. We debate whether Giorgio Moroder's rock interpretation of the movie in 1984 has any merit. And we marvel at the stunning effects by Eugen Schüfftan, from the miniatures and stop motion, to the video phone, to the creation of the Machine-Man and the rings of light moving around it.  It's a film that has inspired countless projects since and is clearly an important piece in the history of cinema, and even though the story is riddled with problems and could likely be condensed to get the same thing across, it's still well worth a watch. So check out this movie then tune in to this week's show! Film Sundries Watch this film: Amazon • Netflix • Hulu Original theatrical trailer Original poster artwork Art of the Title Flickchart Letterboxd Trailers of the Week Andy's Trailer: Urge — "I really don't know if I'm that excited about this movie, but I love seeing Pierce Brosnan in roles where he seems to be playing something drastically different from his Bond persona. That alone piqued my curiosity here and while I won't be running out to the cinema to catch this one, I think I may watch this some late night just to see how it is." Pete's Trailer: The Shallows — "So, it's Jaws, but with Blake Lively, plus a bunch of Michael Bay low angle tracking shots. I have a feeling this is going to connect with me on a deeply disturbing level. I'm not proud, but at least I'm honest."

La obra maestra y seminal de la dupla Lang-von Harbou no es tanto las películas mismas sino su protagonista homónimo: un espíritu indomable que mezcla psicoanálisis, nihilismo, tecnología, riqueza y seducción, para representar diversas formas de caos en periodos distintos de la historia de Alemania. Antecesor de los villanos de Bond y de una familia completa de las cintas de aventuras, Mabuse es también como los filmes de zombies de G. Romero, donde cada uno aborda un elemento distinto y característico de su propia época.