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造物的奇迹

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类型：科幻纪录地区：

年份： 1925

状态： HD/2024-10-09

主演： Margarete Sch?n Theodor Loos Paul Bildt Margarethe Schlegel Oscar Marion Willy Kaiser-Heyl

导演： Hanns Walter Kornblum

专辑：造物的奇迹

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别名：Our Heavenly Bodies

《造物的奇迹》拍摄于1925年，所属题材类型：科幻纪录，是一部Margarete Sch?n Theodor Loos Paul Bildt Margarethe Schlegel Oscar Marion Willy Kaiser-Heyl 主演的中国大陆综艺，影片的导演是Hanns Walter Kornblum 。想要看更多的《造物的奇迹》相关影视作品，请关注www.molongwx.com！《造物的奇迹》拍摄于1925年，所属题材类型：科幻纪录，是一部Margarete Sch?n Theodor Loos Paul Bildt Margarethe Schlegel Oscar Marion Willy Kaiser-Heyl 主演的中国大陆综艺，影片的导演是Hanns Walter Kornblum 。。

　　Wunder der Sch?pfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubricks 2001: A Space Odyssey. 　　In the context of Germanys Kulturfilm phenomenon, Wunder der Sch?pfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and mans place in it well suited UFAs Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the films plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed. 　　The films symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The films educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For todays audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.

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