영문 Metropolis 메트로폴리스 1927） 영화 대사
등록일 / 수정일- 페이지 / 형식
- 자료평가
- 구매가격
- 2015.06.27 / 2015.06.27
- 100페이지 /
hwp (아래아한글2002) - 평가한 분이 없습니다. (구매금액의 3%지급)
- 1,000원
최대 20페이지까지 미리보기 서비스를 제공합니다.
자료평가하면 구매금액의 3%지급!
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
추천 연관자료
- 본문내용
-
Metropolis Script
More than a quarter of the film
must be regarded as irretrievable lost.
Few other films have been so
systematically changed, mutilated,
corrupted as this one. Shots and titles
have been omitted and changed
However, of no other such mistreated film
do we know so well
what the film originally looked like.
Fritz Lang and Thea von Harbou,
different-sex Siamese twins.
Just like their film.
The novel: Thea von Harbous film
behind the, under Fritz Langs film.
At this point, the music started
during the first screening...
The Metropolis theme.
A fanfare motif...
the orchestra follows...
a column of sound emerges.
Thea von Harbous message,
Lang didnt believe in it.
He said: "I am fascinated by machines."
Metropolis, the mother city,
city of mothers, mother of all cities.
The city, the film...
they too are machines.
Flywheels,
a crankshaft,
an eccentric disk,
A machine without Workers,
devoid of function,
pure movement...
rotating, thrusting...
a machine of desire. Round shapes
and jerking movements become one
within the image of two clocks.
One -hour and one -hour clock.
Day shift and night shift, hours each,
mark the Metropolis working day.
Two groups of Workers,
uniformed, in rows of six,
march in unison,
the exhausted half as fast as the fresh.
"They moved their feet,
but were not walking", reads the novel.
The way people move or are moved
is always highly significant
throughout the film.
The Workers theme - a funeral march.
The night shift enters a cage...
the grate is raised,
the cage sinks, and with it the camera.
A title picks up the movement.
"Even the titles", the young Luis Buel
wrote in his review of the film,
"how they rise and fall,
blend with the movement as a whole,
become pictures themselves."
The titles movement is carried through
to the movement of the picture.
The Workers: Now just a painted
silhouette rising in the background,
the design of the
Underground Workers City.
Elevators transport the Workers
up and down between the machine halls
and their living quarters.
A new musical theme:
The Theme of the City of the Workers.
The main square of the Workers City.
Simply a transit area for the Workers
returning to their quarters.
In the centre a gong,
again a kind of alarm clock.
The downward scroll of the title
is answered by a rising,
equilateral triangle pointing skywards.
The Sports stadium,
the contrast is stark between
its openness under sweeping skies
and the cramped City of the Workers -
just as stark as the contrast between
the liberated and carefree movements
of the youths, dressed in white,
and the dull lethargy
of the darkly clothed Workers -
and the self-determined horizontal
movement versus the downward ride
of the Workers in the lift.
A light-hearted waltz,
no musical leitmotiv,
accompanies this scene.
An artificial grotto,
columns like stalactites,
young women in rococo carnival costumes,
Orient-inspired head adornments.
The tricorn is of Venetian origin.
In contrast to the straight course
of the young men -
animated turns - anticlockwise -
directed by a ringmaster - clockwise.
A playground is the pleasure garden
of the sons, an infantile idyll.
Nature, sex,
eroticism in chaste playfulness -
like the water in the fountain:
A transparent dome
masking a statue of a siren.
The youth in white breeches and the girl
with the Cul de Paris play hide and seek.
Their game a dance, a pas-de-deux.
Allusion, yet so intensely innocent
that we do not actually expect
a real kiss.
Instead an expectant glance -
musically accompanied by a new theme,
let us call it the Love Theme...
answered by an apparition, "dressed in
light grey", it reads in the screenplay,
"from the smallest of d??ollet
자료평가
-
아직 평가한 내용이 없습니다.
