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Which clippings match 'Metropolis (1927)' keyword pg.1 of 2
20 NOVEMBER 2016

Alex Gendler: how to recognize a dystopia

"The genre of dystopia – the 'not good place'– has captured the imaginations of artists and audiences alike for centuries. But why do we bother with all this pessimism? Alex Gendler explains how dystopias act as cautionary tales – not about some particular government or technology, but the very idea that humanity can be molded into an ideal shape."

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Aldous Huxley • Alex Gendler • Animal Farm (1954)artificial intelligence • aryan • atomic energyBlade Runner (1982)brave new world • Brave New World (1932) • cautionary talecommunist systemconcentration campdemocracydepletion of natural resourcesDr Strangelove (1964) • drudgery • dystopia • dystopian fiction • dystopian literature • dystopian science fictioneugenicsfactory workerfascismfree willgas chambergenetic engineering • Gullivers Travels (1726) • H G Wells • humanitys future • impoverished masses • impoverishment • industrial ageindustrial revolution • industrial warfare • It Cant Happen Here (1935) • Jack London • Jonathan Swift • mass entertainment • mass media ageMetropolis (1927) • modern anxieties • nightmare world • Nineteen Eighty-Four (1949)nuclear war • oligarchy • oppressionoverpopulationparadise • perfect world • political structures • povertyprogress narratives • resource depletion • science fiction • Sinclair Lewis • slumsocial rolessocial structures • space colony • space travelspeculative fiction • squalor • surveillance state • TED-Ed • The Handmaids Tale (1985) • The Iron Heel (1908) • The RepublicThe Time MachineThomas Moretotalitarianism • tyrannical oligarchy • tyranny of modernismutopia • V for Vendetta (2006) • Watchmen (2009) • We (1924) • Westworld (1973) • WW1WWII • Yevgeny Zamyatin

CONTRIBUTOR

Simon Perkins
06 NOVEMBER 2013

Rare Film Programme for Fraitz Lang's 1927 Masterpiece

"The world's most valuable movie poster, for Fritz Lang's 1927 masterpiece Metropolis, is to be auctioned again after making a record $690,000 in 2005. Ephemera related to the film is notoriously scarce, with only four copies of the poster known to survive. Almost as uncommon is this amazing film programme produced for the London premiere at the Marble Arch Pavilion on March 21, 1927, one of only three copies that we have handled. Not only a list of cast and crew, it includes eleven short pieces on the making of the movie, commentary from the director and cast, and numerous production photographs and film stills, many attractively arranged as modernist collages. One of the most interesting sections shows in parallel columns how a passage of film scenes was adapted from the novel of the same name by Lang's wife, Thea von Harbou."

(Laura Massey, 10 July 2012, Peter Harrington)

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1927 • auction house • British premiere • cast and crew • film premiere • film programme • film stillsFritz LangGerman cinemaLondonmaking of • Marble Arch Pavilion • masterpieceMetropolis (1927) • modernist collage • movie poster • production photographs • rare bookssouvenirThea von HarbouTower of Babel

CONTRIBUTOR

Simon Perkins
24 JUNE 2013

Boris Bilinsky's Constructivist-inspired Metropolis film poster

"This composition comprises the flat, featureless and strongly linear below–ground buildings of Metropolis' workers city, transformed and transposed into a mass of soaring, above–ground skyscrapers, huddled together and rather chaotically intersected by aerial roads and walkways. This interpretation of Fritz Lang's urban vision, as opposed to a mere reproduction of images from the film, makes a stunning poster. The strongly linear elements of Bilinsky's cityscape contrasts with the circular Tower of Babel and other soft–edged constructions which exist in Joh Fredersen's above–ground city for the rich and privileged. This poster has been reproduced in a number of publications dealing with European film posters, posters in general, and art movements of the 1920s. Bilinsky's work presents an artisitc bridge between Russian constructivism with is hard edges and linearity, and the soft, romantic elements so much a part of the French tradition."

Fig.1 Metropolis – L'Alliance Cinématographique Européenne présente une production UFA réalisé par Fritz Lang d'aprés le scénario de Thea von Harbou. UFA ACE', 4 Sheet poster, (240 x 320 cm) 224 x 303.5 cm / 96 x 120 inches, Farblithografie, Bédos et Cie, Paris, 1927. Signed 'Boris Bilinsky', upper right. Collection: Kunstbibliothek, Staatliche Museen / Stiftung Preußischer Kulturbesitz, Berlin. René Clémenti–Bilinsky catalogue no.1030.

(Michael Organ and René Clémenti–Bilinsky)

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1920s1927 • Boris Bilinsky • cityscapeConstructivist-inspireddesign formalismfilm posterFrench artistic traditionFritz Lang • hard edges • Joh Fredersen • linear elements • linearityMetropolis (1927) • Michael Organ • modernist aesthetics • Modernist masterpiece • poster design • Rene Clementi-Bilinsky • romantic elements • skyscraper • soft elements • Thea von HarbouTower of Babelurban visionvisual design

CONTRIBUTOR

Simon Perkins
29 JULY 2012

Fahrenheit 451: passive consumption through audience participation

"When the 'Family' (the television with its 'cousin' announcers and actors) presents an interactive play in which Linda believes she has a role, an actor (Donald Pickering) wearing glasses with thick, black rectangular frames, turns to the camera as it zooms in on him and says, 'What do you think, Linda?'"

(Tom Whalen, Gale Student Resources In Context)

Whalen, Tom. "The Consequences of Passivity: Re–evaluating Truffaut's Fahrenheit 451," in Literature–Film Quarterly, Vol. 35, No. 3, July, 2007, pp. 181(10).

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1966Alphaville • anti-intellectualism • audience participation • banbannedBernard Herrmannbig brotherbook • book burning • book-people • booksburning • Clarisse (character) • comic bookconformityconsolettecontroldisplay walldomestic futuresdystopiadystopian futureFahrenheit 451fire • fire department • firefighter • fireman • Francois Truffaut • Furia • futuristic societyGattacahousewifehumourindividualisminteractive dramainteractive experience • interactive teledrama • interactive television • It Happened Here (film) • Julie ChristieLinda (character)literature • Machiavelli • mahogany veneer • massificationmedia consumerMetropolis (1927)Montag (character)new forms of television • Nicolas Roeg • Nineteen Eighty-Four (1949)Oskar Werner • parlor wall • parlour • participation dramaparticipative media • passive consumer • passive consumptionpicture newspaper • pro-literature underground • Ray Bradburyreadingreality televisionscience fictionself-reflexivity • sensory deprivation • speculative fictionsubversion • telecast • televisiontelevision screenThe Family (television) • The Handmaids Tale • The Martian Chronicles • The Prince (book) • THX 1138 • totalitarianism • TV parlor • TV story • TV wall • video wall • visual joke • wall TV • wall-sized screen • what do you think • written languagewritten word

CONTRIBUTOR

Simon Perkins
05 APRIL 2012

Exposition Futur Anterieur: the future of an alternative past

"Articulée autour des trois axes convergents mais néanmoins autonomes que constituent le rétrofuturisme, le steampunk et l'archéomodernisme, l'exposition a pour enjeu de faire dialoguer des productions culturelles issues du passé, qui tentaient à leur époque d'envisager ce que pourrait être le futur – c'est–à–dire approximativement notre postmodernité – avec des œuvres d'artistes actuels qui revisitent le passé et réactivent certaines visions du futur ou de la modernité générées essentiellement entre le dernier tiers du XIXe et la première moitié du XXe siècle.

Structured around the themes of retrofuturism, steampunk and archeomodernism – a concept developed by the academic, critic and curator Arnaud Pierre, the exhibition FUTUR PERFECT aims to create a dialogue between past cultural output that imagined the future, what is essentially our postmodern era – with work from contemporary artists, which in both form and substances refer to the pas [sic] by revisiting and reviving certain visions of the future or of modernity, generated by mainly between the last third of the 19th century and the first half of the 20th century. The exhibition takes a transversal approach, intersecting different aesthetic and temporal veins. A selection of work from contemporary artists will be grouped with older work and documents – each giving perspectives to the others. In addition, one section will be dedicated to cinema and another to the various accessories, devices and artefacts developed by the steampunk community. in a separate section, the exhibition will also include the first French retrospective of the American magazine Retrofuturism, in the form of an installation designed by its originator, the artist and editor Lloyd Dunn."

(Commissaire de l'exposition / Curator : Jean–François Sanz, Galerie du Jour agnès b.)

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19th century201220th century • Adrien Beau • agnes b • Albert Robida • alternative past • archeomodernism • Arnaud Pierre • Bill Domonkos • Bob Basset • Camille Flammarion • Didier Graffet • Dove Allouche • Elise Leclercq • Emile Bayard • envisioning • Eric Caro • Etienne Leopold Trouvelot • Evariste Richer • exhibitionfantastical endsfantasy • Franck Rezzak • Franco Brambilla • futur anterieur • futur perfect • Georges Melies • Henri Armengol • Henri Lanos • historical perspective • Hugh Ferriss • Hugues Reip • imagined future • Jean-Luc Verna • Jesse DAngelo • Keith Thompson • Laurent Grasso • Laurent Montaron • Le voyage dans la Lune • Leon Benett • Leon Gimpel • Lloyd Dunn • Lucien Rudaux • Marc Caro • Marjolaine Sirieix • Markus Schinwald • Matthew Buchholz • Maurice Grunbaum • Metropolis (1927)modernity • Mr Audax • nostalgia • Plonk and Replonk • postmodern era • Ray Caesar • Redstar • retrofuturism • Retrofuturism (magazine) • retrospective • Ruppert and Mulot • Sam Van Olffen • Samon Takahashi • space travelspeculative fictionsteampunk • steampunk community • Stephane Halleux • Tempus Factoris • the past • transversal approach • visions of the futurevisual design • Xavier Veilhan

CONTRIBUTOR

Simon Perkins
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