Solarisation
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Fotografía de una de las escaleras interiores del Atomium (Bruselas).
Esta foto es mi particular homenaje a la película futurista alemana de Metrópolis (1927), del genial Fritz Lang.
Película cumbre del expresionismo alemán y del cine en general.
wie wenden wir den technischen Fortschitt an dass er gut für die Menschheit ist eine Frage die uns immer noch beschäftigt ist...
www.sueddeutsche.de/kultur/im-kino-fritz-langs-metropolis...
Fritz Lang erweckte 1927 in Metropolis die erste Roboterfrau „Maria“ zum Leben. Maria: ein „Maschinenmensch“; ein stählern, glänzender Roboter mit weiblichen Geschlechtsmerkmalen, also nicht nur Roboter sondern auch Androide. Androide: aus dem Griechischen, künstlicher Mensch, menschenähnliche Maschine.
www.youtube.com/watch?v=HRKAhKKMDuc&list=PLIZCFeWrjv6...
IMG_1419abr
Fritz Lang tribute
to Virginia Holloway
this is a collage: 2 photo from Metropolis and 9 from my camera
Fritz Lang would approve.
Design (2004 - 2008) Kasper Danielsen Architects and Future Systems.
Copenhagen, Denmark.
The Tokyo Metropolitan Government Building or Tochō (都庁) for short. The main building (right) at 48 stories (242.9 meters) is the headquarters for the Tokyo Metropolitan Government with jurisdiction over one of the globe’s biggest cities.
Designed by Kenzo Tange and completed in 1990 at cost of around 1 bil US the complex takes up a whole city block. The exterior, with strong Gothic elements was designed to resemble an integrated circuit board. There are free access public viewing galleries at the top of each tower of the main building - check local guides for opening times. Staff in the building are just awesome :-)
This frame is taken from the courtyard between the Assembly Building and Main Building No.1, Building No.2 is in the centre of the frame. Was looking for the Fritz Lang vibe...
Fuji X-H1, Samyang 12/2 NCS, 60 secs at f/9, ISO 100
Breakthrough Photography 10 Stop ND filter.
A curious diversion: bit.ly/unfurly2
A big Thank You to all who view, fave and comment on my work :-)
exp20200319#133
Taken at the Bull Ring in Birmingham. It struck me while I stood here watching the people in their little bubbles of consumerism, adverts everywhere, how much we are in a controlled environment, sold to at every turn, herded past adverts for things we don't really need.
The similarity to lang's Metropolis seemed apt and then I was confronted by the security, they informed me I wasn't allowed to take photographs in what I considered a public space (I was wrong and was shown the door). Sort of confirmed my opinion of the whole age we live in really. Hey Ho :-).
A fair and wonderful weekend to all.
Mark x
Last of the series featuring the Tokyo Metropolitan Government Building or Tochō (都庁) for short. This is Building #1 and at 48 stories (242.9 meters) it is the headquarters for the Tokyo Metropolitan Government with jurisdiction over one of the globe’s biggest cities.
Fuji X-H1, Samyang 12/2 NCS, 60 secs at f/9, ISO 100
Breakthrough Photography 10 Stop ND filter.
A big Thank You to all who view, fave and comment on my work :-)
most strange - in the explore group but not on the explore page...
exp20200322#313
The Tokyo Metropolitan Government Building or Tochō (都庁) for short. This is Building #1 and at 48 stories (242.9 meters) it is the headquarters for the Tokyo Metropolitan Government with jurisdiction over one of the globe’s biggest cities.
Designed by Kenzo Tange and completed in 1990 at cost of around 1 bil US the complex takes up a whole city block. The exterior, with strong Gothic elements was designed to resemble an integrated circuit board. There are free access public viewing galleries at the top of each tower of the main building - check local guides for opening times. Staff in the building are just awesome :-)
Fuji X-H1, Samyang 12/2 NCS, 60 secs at f/9, ISO 100
Breakthrough Photography 10 Stop ND filter.
A curious diversion: bit.ly/unfurly2
Welcome To The Machine - Pink Floyd
Welcome my son, welcome to the machine.
Where have you been? It's alright we know where you've been.
You've been in the pipeline, filling in time,
provided with toys and Scouting for Boys.
You bought a guitar to punish your ma,
And you didn't like school, and you know you're nobody's fool,
So welcome to the machine.
Welcome my son, welcome to the machine.
What did you dream? It's alright we told you what to dream.
You dreamed of a big star, he played a mean guitar,
He always ate in the Steak Bar. He loved to drive in his Jaguar.
So welcome to the machine.
View On Black and large - consigliato (reccomended)
il nuovo palazzo di giustizia a novoli; non capisco perchè venga tanto contestato, io lo trovo bellissimo; mi piacciono le sue spigolosità da film espressionista e la sua imponenza...alto 64 metri e largo più di duecento, è un'architettura moderna di tutto rispetto...e lontana a sufficienza dal centro storico. amo firenze, e non mi piace che resti mummificata. nel nuovo panorama della città appare lontano questa strana e giovane creatura appuntita...per me è la benvenuta.
compare my article flickrcomments.wordpress.com/2011/07/19/wuppertal-blues/ or discover, how I'm trying to combine philosophy and photography in my group www.flickr.com/groups/existentialism
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"She is the most perfect and most obedient tool which mankind ever possessed! "
('Maria / Machine-Human' by MEZCO Toys / "Silent Screamers")
"METROPOLIS"
Expressionist epic science-fiction silent film (Germany, 1927)
Directed by Fritz Lang
I created my own personal tribute to Fritz Lang's film trying to represent the iconic poster. This idea was born for a contest in a Facebook group and it earned me second place! The most complex part was spacing the various elements on the 16x16 stud size limit knowing that I would then have to photograph everything from a very specific angle. To represent Maria, the robot that appears in the poster, I used C-3PO whose design draws inspiration from Lang's work.
From Fritz Lang's Metropolis
Uncertain times. Mid-war Germany - CaixaFòrum Barcelona
mediahub.fundacionlacaixa.org/en/culture-science/culture/...
"Enoha fait son cinéma" de Nathanaëlle Picot / Pixel n' Pepper
Evocation de "Metropolis" de Fritz Lang
the robot Maria from Fritz Lang's Metropolis. As quarantines were relaxing in early 2021, this comic store held a movie night showing of the film and still had the giant backroom setup for the event.
...or actually early one morning over the rooftops of Havana. Architecture is not my main topic but sometimes it is hard to look the other way.
... el Presente ... el Futuro ... es Mujer!!! ... Feliz Día Internacional de la Mujer!!! ........ xo♥ox …
es.wikipedia.org/wiki/Día_Internacional_de_la_Mujer
... the Present ... the Future ... is Woman!!! ... Happy International Woman's Day!!! .... xo♥ox …
en.wikipedia.org/wiki/International_Women's_Day
... salud, buenas luces y muchas gracias a todas / os!!!
... health, good lights and thanks so much to all!!!!!!!!!!!!
... Series: "Los Paralelos" / "The Parallel" - "Temporal Fracture"
... Music: "Machines" by Giorgio Moroder ... from the OST of electronic - colored - rock version of the controversial but fabulous film "Metropolis", by Master Fritz Lang!!!
"I want you to visit those in the depths, in order to destroy the work of the woman in whose image you were created !"
('Maria / Machine-Human' and diorama by MEZCO Toys / "Silent Screamers")
"METROPOLIS"
Expressionist epic science-fiction silent film (Germany, 1927)
Directed by Fritz Lang
Argentine film archivist Fernando Peña discovered a full-length copy of “Metropolis” in 2008 in the archives of the Museo del Cine in Buenos Aires. Incorporating more than 25 minutes of newly discovered footage, the 2010 restoration is the definitive edition of the film, backed by a new recording of Gottfried Huppertz’s 1927 score.
“Metropolis” is known for its dazzling visual design and special effects. Lang’s vision of a technologically advanced, socially stratified urban dystopia, has influenced contemporary films like “Blade Runner” and “Star Wars.”
Full movie (2010 restoration): www.youtube.com/watch?v=OZ_mcUz8hkQ
Swiss postcard by Musée de l'Elysée, Lausanne / News Productions, Baulmes, no. 55468. Photo: Horst von Harbou / Collection de la Cinemathèque française, Paris. Caption: Fritz Lang during the shooting of Metropolis, 1926.
Fritz Lang (1890-1976) was an Austrian-German-American filmmaker, screenwriter, and occasional film producer and actor. One of the best-known émigrés from Germany's school of Expressionism, he was dubbed the "Master of Darkness" by the British Film Institute. Lang's most famous films include the groundbreaking futuristic Metropolis (1927) and the influential M (1931), a film noir precursor that he made before he moved to the United States. His other notable films include Dr. Mabuse, der Spieler/Dr. Mabuse the Gambler (1922), Die Nibelungen (1924), Fury (1936), You Only Live Once (1937), Hangmen Also Die! (1943), The Woman in the Window (1944), and The Big Heat (1953).
Friedrich Christian Anton 'Fritz' Lang was born in Vienna, Austria-Hungary (now Austria), as the second son of Anton Lang, an architect and construction company manager, and his wife Paula Lang born Schlesinger. Paula was Jewish but converted to Catholicism when Lang was ten. His parents took their religion seriously and were dedicated to raising Fritz as a Catholic. Lang frequently had Catholic-influenced themes in his films. After finishing school, Lang briefly attended the Technical University of Vienna, where he studied civil engineering and eventually switched to art. He left Vienna in 1910 in order to see the world, traveling throughout Europe and Africa, and later Asia and the Pacific area. In 1913, he studied painting in Paris. At the outbreak of World War I, Lang returned to Vienna and volunteered for military service in the Austrian army. He fought in Russia and Romania, where he was wounded four times and lost sight in his right eye. While recovering from his injuries and shell shock in 1916, he wrote some scenarios and ideas for films. These were filmed as Die Peitsche/The Whip (Adolf Gärtner, 1916), starring Ernst Reicher as the detective Stuart Webbs, and Hilde Warren und der Tod/Hilde Warren and Death (Joe May, 1917). He was discharged from the army with the rank of lieutenant in 1918 and did some acting in the Viennese theatre circuit for a short time. Then he was hired by Erich Pommer as a writer at Decla Film in Berlin. Lang's writing stint was brief, but resulted in Die Pest in Florenz/The Plague in Florence (Otto Rippert, 1919), based on the story 'The Masque of the Red Death' by Edgar Allan Poe. Soon Lang started to work under Pommer as a director at the new German film studio Ufa, just as the Expressionist movement was building. In this first phase of his career, Lang alternated between films such art films as Der Müde Tod/The Weary Death/Destiny (1921) and popular thrillers such as the two-parter Die Spinnen/The Spiders (1919). He combined popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema.
In 1920, Fritz Lang met his future wife, the writer Thea von Harbou. She and Lang co-wrote all of his films from 1921 through 1933. In 1922 he became a German citizen. Dr. Mabuse, der Spieler/Dr. Mabuse the Gambler (1922) ran for over four hours in two parts in the original version and was the first in the Dr. Mabuse trilogy. Then followed the five-hour Die Nibelungen/Die Nibelungen: Siegfried & Die Nibelungen: Kriemhild's Revenge (1924), starring Paul Richter and Margarete Schön. His most famous film, the Fantasy Metropolis (1927) starring Brigitte Helm and Gustav Fröhlich, went far over budget and nearly destroyed Ufa which was then bought by right-wing businessman and politician Alfred Hugenberg. Metropolis was a financial flop, as were his last silent films Spione/Spies (1928) with Willy Frisch, and the science fiction film Frau im Mond/Woman in the Moon (1929) with Fritsch and Gerda Maurus, produced by Lang's own company. In 1931, independent producer Seymour Nebenzahl hired Lang to direct M - Eine Stadt sucht einen Mörder/M (1931) for Nero-Film. Lang's first talking picture is considered by many film scholars to be a masterpiece of the early sound era. It is a disturbing story of a child murderer (Peter Lorre in his first starring role) who is hunted down and brought to rough justice by Berlin's criminal underworld. M remains a powerful work. Wikipedia: "In the films of his German period, Lang produced a coherent oeuvre that established the characteristics later attributed to film noir, with its recurring themes of psychological conflict, paranoia, fate and moral ambiguity." At the end of 1932, Lang started filming Das Testament des Dr. Mabuse/The Testament of Dr. Mabuse (1933), starring Rudolf Klein-Rogge. When Adolf Hitler came to power in 1933, the new regime soon banned the film as an incitement to public disorder. Testament is sometimes deemed an anti-Nazi film, as Lang had put phrases used by the Nazis into the mouth of the title character. Lang was worried about the advent of the Nazi regime, partly because of his Jewish heritage, whereas his wife and co-screenwriter Thea von Harbou had started to sympathise with the Nazis in the early 1930s, and went on to join the NSDAP in 1940. They soon divorced. According to Lang, propaganda minister Joseph Goebbels called him to his offices to inform him that The Testament of Dr. Mabuse was being banned but, nevertheless, he was so impressed by Lang's abilities as a filmmaker that he offered him the position of head of the Ufa. did not accept the position and it was later accepted by filmmaker Leni Riefenstahl. Lang decided to leave for Paris.
In 1933, Fritz Lang divorced Thea von Harbou, who stayed behind in Berlin. In Paris, Lang filmed a version of Ferenc Molnár's Liliom (1933), starring Charles Boyer and Madeleine Ozeray. In 1934, he moved to Hollywood, where he signed with MGM. His first American film was the crime drama Fury (1936), which starred Spencer Tracy as a man who is wrongly accused of a crime and nearly is killed when a lynch mob sets fire to the jail where he is awaiting trial. From the beginning, Lang was struggling with restrictions in the United States. Thus, in Fury, he was not allowed to represent black victims in a lynching scenario or to criticise racism. Lang became a naturalised citizen of the United States in 1939. He made twenty-three features in his 20-year American career, working in a variety of genres at every major studio in Hollywood, and occasionally producing his films as an independent. Wikipedia: "His American films were often compared unfavorably to his earlier works by contemporary critics, but the restrained Expressionism of these films is now seen as integral to the emergence and evolution of American genre cinema, Film Noir in particular. His film Scarlet Street (1945) is considered a central film in the genre." One of Lang's most famous Film Noirs is the police drama The Big Heat (1953), noted for its uncompromising brutality, especially for a scene in which Lee Marvin throws scalding coffee on Gloria Grahame's face. As Lang's visual style simplified, in part due to the constraints of the Hollywood studio system, his worldview became increasingly pessimistic, culminating in the cold, geometric style of his last American films, While the City Sleeps (1956) and Beyond a Reasonable Doubt (1956).
In the 1950s, Fritz Lang found it increasingly hard to get work, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult to work with. His health also declined with age, and Lang contemplated retirement. Then the German producer Artur Brauner expressed interest in remaking Das indische Grabmal/The Indian Tomb (1921) a silent film that Lang had developed but had ultimately been directed by Joe May. Lang returned to Germany to make his 'Indian Epic': Der Tiger von Eschnapur/The Tiger of Eschnapur (1959) and Das indische Grabmal/The Indian Tomb (1959) with Debra Paget, Paul Hubschmid, and Walter Reyer. Following this production, Brauner was preparing a remake of Das Testament des Dr. Mabuse/The Testament of Dr. Mabuse (1933) when Lang approached him with the idea of adding a new original film to the series. The result was Die 1000 Augen des Dr. Mabuse/The Thousand Eyes of Dr. Mabuse (1960). The success of the film led to a series of new Mabuse films, which were produced by Brauner, including the remake of The Testament of Dr. Mabuse. Lang did not direct any of the sequels. He was approaching blindness during the production of The Thousand Eyes of Dr. Mabuse (1960) and it was his final project as director. In 1963, he appeared as himself in Jean-Luc Godard's film Le Mépris/Contempt (1963) with Brigitte Bardot and Michel Piccoli. Fritz Lang died from a stroke in 1976 and was interred in the Forest Lawn – Hollywood Hills Cemetery in the Hollywood Hills of Los Angeles. He was 85. Langs was married three times: In 1919 he married Lisa Rosenthal, who died in 1921. he was married to Thea von Harbou, from 1922 till 1933, and to Lily Latté from 1971 till his death in 1976. While his career had ended without fanfare, Lang's American and later German works were championed by the critics of the Cahiers du cinéma, such as François Truffaut and Jacques Rivette. In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival.
Sources: Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Ross Verlag, Berlin, no. 71/5. Photo: Ufa Parufamet. Brigitte Helm, Rudolf Klein-Rogge and Alfred Abel in Metropolis (Fritz Lang, 1927).
German actress Brigitte Helm (1908-1996) is still famous for her dual role as Maria and her double the evil Maria, the Maschinenmensch, in the silent SF classic Metropolis (Fritz Lang, 1927). After Metropolis she made a string of over 30 films in which she almost always had the starring role. She easily made the transition to sound films, before she abruptly retired in 1935.
Alfred Abel (1879-1937), best known as the industrial Fredersen in Fritz Lang's Metropolis, played in over 140 silent and sound films between 1913 and 1938.
Rudolf Klein-Rogge is best remembered as Fritz Lang's Dr. Mabuse and as Lang's mad scientist in Metropolis, but he played many more parts in German cinema.