German Filmmuseum Edition

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Saturnome
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Re: German Filmmuseum Edition

#651 Post by Saturnome » Wed Sep 26, 2018 3:56 pm

But were silent serbian films made in 1940, 1941 ? I guess a late entry in the sound era is due to a few years without any filmmaking.

After my last post, I did a bit of research and found a few silent films from the Soviet Union and Japan from 1938 and 1939. I find the subject kind of fascinating, as a long time ago I was sure that the whole world was doing nothing but talkies by 1929. Any silents made later than 1931 is surprising to me (I'm, of course, not speaking of films like The Artist, I'm speaking of how far can you push further the "silent era"), and I'd love to find more examples outside of Japan,Russia and China.

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vertovfan
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Re: German Filmmuseum Edition

#652 Post by vertovfan » Wed Sep 26, 2018 4:34 pm

The Serbs definitely had a film industry prior to 1942 - enough to fill a 10-DVD set of “Film Pioneers” from Jugoslovenska Kinoteka. I’ve only just started going through it, but it contains both documentary and feature films, and 1942 is toward the tail end of the years covered. I found my copy on eBay, but unfortunately I haven’t run across any kind of official online description.

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The Fanciful Norwegian
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Re: German Filmmuseum Edition

#653 Post by The Fanciful Norwegian » Wed Sep 26, 2018 5:29 pm

zedz wrote:
Tue Sep 25, 2018 4:18 pm
Korea's first sound film wasn't made until 1935 as well. The transition to sound in Asian national cinemas seems to be consistently later than in the West. India's first talkie was made in 1931, but I don't know how fast sound took over there.
The slowness of Korea's transition to sound was likely a combination of lack of resources and the Japanese influence, specifically the popularity of live narrators (known as byeonsa, a borrowing of the Japanese benshi). India, however, transitioned to sound fairly quickly—figures from the Central Board of Film Certification cited in the Encylopaedia of Indian Cinema show that production of sound films outpaced that of silents by 1932, and production of silents stopped altogether by 1935. I'm not clear on why the uptake of sound was so much quicker in India than it was in China, since both shared the same issue of numerous mutually-unintelligible languages, but India's film industry appears to have been in better overall health than China's.

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whaleallright
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Re: German Filmmuseum Edition

#654 Post by whaleallright » Fri Sep 28, 2018 4:49 pm

well, it helps to remember China's political and economic situation in the 1930s, which was more tenuous than that of the still-colonial subcontinent. to my understanding, China's "film industry" was more like several atomized municipal industries centered in cities like Shanghai and Hong Kong. they were always fairly undercapitalized, and definitely not well-coordinated. it's a wonder, frankly, that the Shanghai cinema was able to import and utilize synch-sound equipment as soon as they did.

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neilist
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Re: German Filmmuseum Edition

#655 Post by neilist » Sat Sep 29, 2018 2:26 pm

Another very interesting sounding new release...
'Deutschland Dada' & 'John Heartfield, Fotomonteur' & 'Happening, Kunst, Protest 1968'

"Related in theme and form, these three documentaries Germany Dada (1969), John Heartfield: Photomontage Artist (1977) and 1968: Art, Protest, Happening (1981) can be seen as a trilogy on the history of art in the 20th century. Art historians focus on those rare moments in our German history when radical aesthetics and radical politics briefly went hand in hand. Then the movement of authoritarian political sects on the one hand and the reaction of the authoritarian establishment combined with the voracity of the art market on the other put an end to this beautiful commonality." (Helmut Herbst) The 2-disc DVD set also offers unpublished audio documents of talks with artists like Richard Huelsenbeck, Raoul Hausmann, Joseph Beuys, Wolf Vostell, Allan Kaprow and Al Hansen.

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Tommaso
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Re: German Filmmuseum Edition

#656 Post by Tommaso » Wed Nov 21, 2018 11:24 am

Coming December 10:

Murnau's first surviving film, "Der Gang in die Nacht", starring Conrad Veidt.

And even better perhaps: they also release Lupu Pick's seminal "Scherben" (written, like the Murnau, by the legendary Carl Mayer) as a bonus!

Silent release of the year, I'd say.

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TMDaines
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Re: German Filmmuseum Edition

#657 Post by TMDaines » Thu Nov 22, 2018 10:56 am

Tommaso wrote:
Wed Nov 21, 2018 11:24 am
Coming December 10:

Murnau's first surviving film, "Der Gang in die Nacht", starring Conrad Veidt.

And even better perhaps: they also release Lupu Pick's seminal "Scherben" (written, like the Murnau, by the legendary Carl Mayer) as a bonus!

Silent release of the year, I'd say.
Wow, impressive.

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perkizitore
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Re: German Filmmuseum Edition

#658 Post by perkizitore » Thu Nov 22, 2018 12:37 pm

Great news, let's hope Der brennende Acker is next!

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Drucker
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Re: German Filmmuseum Edition

#659 Post by Drucker » Thu Nov 22, 2018 1:45 pm

The film isn't that great but it's definitely the best looking Murnau there is given the quality of the restoration.

Calvin
Joined: Sun Apr 10, 2011 11:12 am

Re: German Filmmuseum Edition

#660 Post by Calvin » Thu Nov 22, 2018 1:51 pm

Looks like an incredible release, though it's a little annoying that they speak of the quality of the restoration then release it DVD only in 2018

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Tommaso
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Re: German Filmmuseum Edition

#661 Post by Tommaso » Thu Nov 22, 2018 3:07 pm

Drucker wrote:
Thu Nov 22, 2018 1:45 pm
The film isn't that great but it's definitely the best looking Murnau there is given the quality of the restoration.
I actually think it's much better than "Schloss Vogelöd", for example, with Conny Veidt's performance as a blind man being particularly impressive. A rather fine early Murnau film in my view, but of course no-one should expect another "Nosferatu" or "Sunrise" here.

Which is why I'm so excited about the release of Pick's "Scherben", which is a truly great, intense 'kammerspiel' which manages to tell its story almost without intertitles and has a stunning central performance by Werner Krauss as a railway trackman whose family is in danger of falling apart when a railway inspector arrives. Why Filmmuseum hides it away on a bonus disc instead of giving it a standalone release (perhaps paired with another Pick, the equally great "Sylvester") is somewhat beyond me. In the end it doesn't matter too much, of course, but just allow me to say that if for whatever reason you don't care too much for the Murnau, you'll still need the set for the Pick.

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Slaphappy
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Re: German Filmmuseum Edition

#662 Post by Slaphappy » Tue May 14, 2019 11:39 am

HerrSchreck wrote:
Sun Aug 22, 2010 1:41 pm
For me the expressionist art direction, as wild as it was, always seems completely dislocated from the narrative... as opposed to reflecting and commenting on the goings on a la Waxworks or Golem or Caligari... even the Carl Mayerian strangeness of Genuine seemed to benefit from the oddball design-- inasmuch as it was merely a rushed "sequel" of sorts to Caligari-- more than Morgen did. But I'll still be checking this restoration out without doubt. And kudos to Ed Filmmuseum.
I found expressionist art direction of Von morgens bis mitternachts not only overall superior to Caligari's, but also extremely fitting for contemporary tale of lurid Weimar decadence and the caricaturist characters and performances. The bank was a bit flat as a set, but pretty much everything else was presented in sufficiently minimalist way so, that it did not appear as vague compromise between theater and cinema as most sets do in Caligari IMO. Just like Alla Nazimova's Salome captures art nouveau style of Aubrey Beardsley's illustrations for Wilde's play, Von morgens bis mitternachts has a very refined stylistic approach rising from graphic arts and yet it has scenes that are cinematic like wandering in snowstorm or watching the bike races. Surprisingly Von morgens bis mitternachts is actually pretty dynamic for it's era.

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DeprongMori
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Re: German Filmmuseum Edition

#663 Post by DeprongMori » Mon Apr 20, 2020 2:18 pm

For those who have been waiting impatiently for Algol - Tragödie der Macht, you’ll be pleased to know that the Filmmuseum München is streaming it this week on Vimeo.

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neilist
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Re: German Filmmuseum Edition

#664 Post by neilist » Tue Apr 21, 2020 7:37 am

DeprongMori wrote:
Mon Apr 20, 2020 2:18 pm
For those who have been waiting impatiently for Algol - Tragödie der Macht, you’ll be pleased to know that the Filmmuseum München is streaming it this week on Vimeo.
Fantastic, thank you, thank you! I have been looking forward to the opportunity to see this restoration for literally years!

Looking through other titles on the Filmmuseum München Vimeo, Wyborny's 1973 'Die Geburt der Nation' / 'The Birth Of A Nation' is also available to watch. I think their films are only online for a week and as this one says it was uploaded 6 days ago, I think my plans for this evening are now cancelled and I'm going to enjoy these. Thank you for the link! :)

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neilist
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Re: German Filmmuseum Edition

#665 Post by neilist » Wed Apr 22, 2020 8:32 am

DeprongMori wrote:
Mon Apr 20, 2020 2:18 pm
For those who have been waiting impatiently for Algol - Tragödie der Macht, you’ll be pleased to know that the Filmmuseum München is streaming it this week on Vimeo.
I contacted Filmmuseum München about this stream and they've responded 'later in this year we will release Algol on DVD', so while I appreciate in the current situation anything could happen, hopefully the release will be with us soon! :)

Adam
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Re: German Filmmuseum Edition

#666 Post by Adam » Fri Apr 24, 2020 1:50 am

Tommaso wrote:
Thu Aug 02, 2018 3:24 am
Out of the blue, a new release:

Leuchtturm des Chaos & Der Havarist
by Wolf-Eckardt Bühler (1983/84).

Never even heard of them.
Der Havarist (The Wanderer) by Wolf-Eckardt Bühler (1983/84) was on MUBI this past month, and I caught it last night. I didn't find it oppressive, but otherwise the description provided on the Filmmuseum site is pretty accurate. It's a documentary in multiple modes, with pleasant shots from a sailboat used as interstitials. Hayden doesn't personally speak in the film; I infer that nothing was used from Pharos of Chaos. Hatden is only in still images; all the spoken text come, as far as I can tell from Hayden's book The Wanderer; the transcript of the HUAC trail, and sessions with "Hayden" talking with a psychologist. I infer that these are dramatized. I found it pretty absorbing; I have a soft spot for the documentaries that use multiple modes to "surround" the thing being investigated. (A Tale of the Wind, by Joris Ivens, looking at China and his own career, is my favorite example, although I haven't seen it in over 20 years now.) MUBI called it a biopic; I disagree with that. Much is cited or enacted, rather than reenacted. But the trial scenes are "reenacted" without concern for realistic representation of the House chamber. The creation calls attention to itself regularly, making clear how a life can only be represented as fragments. It worked for me.

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L.A.
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Re: German Filmmuseum Edition

#667 Post by L.A. » Sat Apr 25, 2020 2:45 pm

L.A. wrote:
Fri Mar 02, 2018 1:43 pm
Opium (Robert Reinert, 1919) has been restored (had no idea it survives) and was shown at Berlinale last month. Sure hope Filmmuseum puts this out eventually.
Available now at Vimeo thanks to Filmmuseum München. Also appears to be coming to DVD this summer according to the text at the link.

Stefan Andersson
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Re: German Filmmuseum Edition

#668 Post by Stefan Andersson » Mon Nov 02, 2020 1:06 pm

Filmmuseum München has nearly finalized their own resto of Der Golem (1920); a different resto than the one the Murnau Stiftung did.

News from Nitrateville.com:

"The Munich Film Museum have just about about finished their own different restoration of DER GOLEM WIE ER IN DIE WELT KAM. Richard Siedhoff has reconstructed the original score and it has been recorded by the Babelsberg Film Orchestra. The restoration is from the camera negative and reportedly the first time in many a year to show the film in its original length. It will do a roadshow run of cinemas and festivals next year (virus permitting) and then be released in the Edition Filmmuseum.
There is a trailer here: https://www.youtube.com/watch?v=FAe_k8F6igA"

"From Richard Siedhoff website who reconstructed the score for this upcoming version.

It should be noted that the Friedrich Wilhelm Murnau Foundation completed a restoration of the film as early as 2018, which is optically brilliant, but very incomplete in terms of content (a fragmentary original negative was found: almost every take is clipped front and back to the film 1921 for the American market to "accelerate"). And so the original music can unfortunately not be applied to the new version of the Murnau Foundation without making strong, shortening changes in the score. Therefore, the music will be explicitly applied to the film reconstruction of the Munich Film Museum, which has been in progress since 2016 and completed in 2019 (which also uses first-generation Nitros), as the music can be used almost completely without any shortening interventions.

In 2018 I discovered the original music for the film THE GOLEM, HOW HE CAME INTO THE WORLD (Paul Wegener, 1920) by the Jewish composer Dr. Hans Landsberger again in the form of a piano direction with a few voice fragments.

Now, two years later, I have finished reconstructing the music and re-orchestrated it for a large orchestra in order to come as close as possible to the premiere version. The score is coordinated with the complete digital reconstruction of the film by the Munich Film Museum (2017-2020), in which editing corrections were made in favor of the music. The whole work now runs for almost exactly 90 minutes. Only twelve bars had to be cut, otherwise the music could be completely retained in its structure!"

Source: https://www.nitrateville.com/viewtopic. ... 4&start=30 (scroll down and see posts Oct. 31 and Nov. 01, 2020)

According to German Wikipedia, the OCN used for the Murnau-Stiftung resto has been augmented with material from other nitrate copies (probably to add the missing tops and tails of scenes mentioned above). The Filmmuseum resto runs 91 minutes, the Stiftung resto runs 76 minutes. Maybe there has been running speed adjustments also?
https://de.wikipedia.org/wiki/Der_Golem ... taurierung

The OCN has been augmented with material from a first generation Italian copy of the B-negative; the film now runs 91 minutes at 18 fps according to Siedhoff here:
https://www.stummfilm-magazin.de/featur ... Hw&start=2

See also:
https://www.filmmuseum-potsdam.de/Vortr ... Golem.html
https://www.berlin-metropolis.de/index. ... ion=detail
https://www.filmuniversitaet.de/artikel ... urueckkam/
https://www.richard-siedhoff.de.ralf-si ... ews=xyz315
https://redaktion42.com/2019/01/30/deut ... -siedhoff/
https://kunstfest-weimar.de/index.php?i ... 03f1a14552
'
Comments re: cuts of fade-ins/fade-outs, plus a description of stretch printing to adjust film speed:
https://www.tapatalk.com/groups/monster ... 4-s80.html

Edit: a video about Siedhoff working on turning Hans Landsberger´s original piano score into an orchestral one: https://www.youtube.com/watch?v=eeabML56opg
Last edited by Stefan Andersson on Mon Feb 08, 2021 2:21 pm, edited 2 times in total.

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swo17
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Re: German Filmmuseum Edition

#669 Post by swo17 » Mon Nov 02, 2020 8:42 pm

Difficult question: If you had only one wish, which would you choose between picking the outcome of the election and Edition Filmmuseum going Blu-ray?

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denti alligator
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Re: German Filmmuseum Edition

#670 Post by denti alligator » Mon Nov 02, 2020 8:47 pm

[never mind]

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Tommaso
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Re: German Filmmuseum Edition

#671 Post by Tommaso » Tue Nov 03, 2020 6:13 pm

swo17 wrote:
Mon Nov 02, 2020 8:42 pm
Difficult question: If you had only one wish, which would you choose between picking the outcome of the election and Edition Filmmuseum going Blu-ray?
Then I'd wish Filmmuseum Munich simply put the thing up in 1080p on their Vimeo channel, as with many of their other spectacular restos recently, and everyone can happily live with another four years without any blu-rays from them...

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neilist
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Re: German Filmmuseum Edition

#672 Post by neilist » Mon Dec 07, 2020 7:13 am

The first two new releases in a while...

'o.k.' (Michael Verhoeven, 1970)
Michael Verhoeven's controversial film o.k. unseen for decades, transfers an authentic incident from the Vietnam War to a Bavarian setting with stark realism. Five American soldiers are bored in their trench and rape a passing young Vietnamese woman. In an attempt to cover up the act, they kill her. Producer Rob Houwer and director Michael Verhoeven discuss in an additional feature how the film, as a competition entry at the 1970 Berlin Film Festival, caused a scandal and led to the festival's collapse. Stefan Drössler chronicles the historical events in the booklet.
'Faust. Eine deutsche Volkssage' (F. W. Murnau, 1926)
F.W. Murnau's Faust has a long history spanning from Berlin to Hollywood. In 1923, Ernst Lubitsch convinced Mary Pickford to let him make a film of the Faust story, but he only got as far as shooting screen tests for the role of Mephisto. When Ufa announced its own Faust film a year later, the only cast member in place was Emil Jannings as Mephisto. For the other parts, the company attempted unsuccessfully to secure American stars. Ufa succeeded in procuring Nobel Prize-winning author Gerhart Hauptmann to write the intertitles, only to discard them in the wake of protest from script writer Hans Kyser. Now, for the first time, the Munich Filmmuseum has reconstructed Faust with Hauptmann's titles, which alter the rhythm and character of the film significantly.

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L.A.
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Re: German Filmmuseum Edition

#673 Post by L.A. » Tue Jan 05, 2021 4:41 am


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JAP
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Re: German Filmmuseum Edition

#674 Post by JAP » Thu Jun 03, 2021 1:42 pm


beamish14
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Re: German Filmmuseum Edition

#675 Post by beamish14 » Thu Jun 03, 2021 1:49 pm

Is there an inexpensive way to get these titles if you live in North America? Their website is charging 45 Euros for shipping.

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