造物,!,/的奇迹

剧情简介

Wunder] _der S` ,chöpfung is an` -$) e xtra^ordinary, fascinatin:-g/ K[ulturf:($_ilm t^;ry[/(ing to !]
[expla!in t@h,@=e wh`/o^*le human k+nowled:\ge of the 1920s about the world =$-and the -univ `erse;:. 15 special effects ?exp;erts a*nd 9 cameramen were involv?ed in% `;+the product]) ion `[+of this film whi.ch comb?:ines docu$mentary`_ scenes#,:, historical documents, fiction el, e@ments, @,*animation sce= nes and edu=c,($ational impac =t. It /i+:] ts beautiful+
#*l.+y[_#; colored]+(, using !\ tinting a.nd tonin

g in a very:_ elabo$rat ( ;ed `way. Some visual ideas in th*e seq#(uences wit#=h a spac-e sh``u?@ttle visit% ing different planets in the%^ u[niver:+se seem to \ha]
ve to be the

i/*nspira
$tio@^n for Stan\  le- y Kubric`*k's 2001 +-A *_ Space Odyssey.　　In the_ ?: co$ntext of Germany's Kul`(/tur *$film,, +.phenom#`enon, W$un=[der d:e#$=r Schöpfun;g was amon/\*g the g.),#r@]eate %st a#ch,_ iev@])ements of the 1920:[s. The _,=production @=was cons,-t+ructed, rehearsed, and s@ hot o +-#ver a peri.`=$od $ of tw
o an^.d a half
,+ year\s, *+:/*under th)-_(e% supervis*ion o;@f Hanns Walter Kornb`lu\m. The idea t @o (describe #%\the univers #;e and man's pla$^?ce in it we!*_ll suit e@(d
UFA's Grossfi lm mentalit] y -, \?!o[^$!#ne year before the Metropol=
%^is ;[catast+rophe.- Hundreds
of skill_ ed cr+aftsm`en pa rticipated in the pr+ojec$ t, building pr[,ops and construct#?ing sca)]l/,e@)] models d\]@ rawn by 15 special effect*s dr]aughtsmen, _w=h%%%ile 9 /ca;,meram^en ^(in `separate_; units work/e _d on% the]  historical, d-?(ocument\ ary, ficti .on, _ anim%!ation,%[ and scienc=e-fi[!ction seque. n[;[ce%^s. Without sta
r_ r\\o
les or ](@even prot )ago.=,nists;
, th^e fi lm's
_+\plot )is c$(ro,+w\@ /=ded with me[ ^ticulously \($*st\,ru*#ctur. ed and skillfully act=e\ d!^ single scenes a;
?n artfu^l mosaic of 
sm)+a ll vi+gnett:@e!s. No less than four$/` cr-,$edite;$-d university professors?%; ensur@=e@/d t^he+` f=$[act].)u /al background behind th:e scient`
ific and ?__his:torical events portrayed.　　The /^film's symbo -l o[f pro)g=r+
ess a$nd the new scientific era-_= is a spacecra!-[ft, tr%avelling t%)h rough^: the Mi?
?lky *Way, maki?ng :al!/l the
=*
$planet.:s and t`]heir ? \!ins);piri#(ng w,orlds familiar =$to us, with the extravag.)anz+a of[ their distinctive feat$+:ures
. The+ !]:film's
 educ?[ational *=intentions, h:owever, becom
$e *s[+==te  -adily more obscu^$re, humorou s, or even campy as t%@his popula#riz(]ation project p r-ocee#ds. Wi!#=[th =!the excuse of presenting t\(h+_+.e end \(= [o ;f the world a not-*$[so-n(#ew c
)oncept ;as/- a n!e# ^w, u*!ndeniably scientific [?trut\=]h, `th*[[ e/* _]?film veers happily alo%-ng? a new path, $_displaying?- detailed apocal@yptic sce]n=es )of th]e en#+d o?!f man.+kind.`
For t!oday's audienc],e?,-s, this am)azing f`,; ilm dem#%ons
trates how t
@](he /+`uni)-verse was co$ mpr%^ehended in the 1920s, _
#and%? h=*ow that view was so@d to contemporary audience+s.