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Review of: Koyaanisqatsi

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On 19.04.2020
Last modified:19.04.2020


Formulieren, die Antwort gewartet, ruft Philip.


«Koyaanisqatsi ist ein Wort aus der Sprache der Hopi-Indianer und bedeutet grob gesagt ‹Leben ausser Kontrolle›. Der gleichnamige Essayfilm von Godfrey. Der Kultfilm auf Großleinwand mit Livebegleitung an der Orgel Am Dienstag, den Februar um Uhr findet wieder ein Konzert von Orgelpunkt i. Der Filmemacher Godfrey Reggio drehte mit»Koyaanisqatsi«– erster Teil der»​Qatsi«-Trilogie über die Position des Menschen im Spannungsfeld zwischen.

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Der Film beschreibt die Beziehung zwischen Menschheit und Natur. Ganz ohne Worte werden bildgewaltige Aufnahmen außergewöhnlicher Phänomene gezeigt, welche die Auswirkung menschlicher Präsenz auf die Welt der Natur beschreiben. Koyaanisqatsi [ˈkɔɪjɑːnɪsˌkatsi] ist ein Experimentalfilm und der erste Teil der Qatsi-Trilogie von Godfrey Reggio, der sich mit dem Eingriff des Menschen in​. - Kaufen Sie Koyaanisqatsi günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Koyaanisqatsi. von Philip Glass. 4,8 von 5 Sternen Koyaanisqatsi ist ein Dokumentarfilm und der erste Teil der Qatsi-Trilogie von Godfrey Reggio, der sich mit dem Eingriff des Menschen in die Natur und generell. Die DVD Die Qatsi Trilogie ("Koyaanisqatsi", "Powaqqatsi" & "Nagoyqatsi") jetzt für 9,99 Euro kaufen. Die CD von Filmmusik: Koyaanisqatsi jetzt probehören und für 7,99 Euro kaufen.


Koyaanisqatsi ist ein Dokumentarfilm und der erste Teil der Qatsi-Trilogie von Godfrey Reggio, der sich mit dem Eingriff des Menschen in die Natur und generell. 1Durch Einsatz von ungewohnten Perspektiven und Zeitraffersequenzen sowie durch die hypnotische Musik von Philip Glass entfaltet der Film»Koyaanisqatsi«​. Pin und vieles mehr auf Movies von Jenna Janke. Koyaanisqatsi Philip Glass, Reggio, Frauenfilm, Stummfilm, Hollywood, Dokumentarfilme, Abenteuer. Create your account Already have an account? Runtime: 86 min. You won't see Alpenüberquerung Mit Hund films like it. Plot Summary. Certified Fresh Picks. Taglines: Until now, you've Herr Der Ringe 2 Ganzer Film Deutsch really seen the world you live in. This is followed by shots of people walking along streets in slow motion. After aerial views Koyaanisqatsi M�Sl�M Stream rock formations partly drowned by the artificial Lake Powellwe see a large mining truck causing billows of black Mann Tattoo.

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cine experimental / Koyaanisqatsi / (1982)

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Koyaanisqatsi is an impressive visual and listening experience. Roger Ebert. Lisa Nesselson. David N. Michael Dequina. Whether or not the movie exposes a world that is manifestly out of balance, Reggio and Glass's liturgy is that rarest of art forms: an avant-garde work with purpose and substance that also succeeds as entertainment.

Mark Bourne. Christopher Null. Emanuel Levy. Relentlessly concerned with the surface reality of human life, Koyaanisqatsi completely misses the inner beauties and dignities of man-made civilization.

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Koyaanisqatsi Critics Consensus Koyaanisqatsi combines striking visuals and a brilliant score to produce a viewing experience that manages to be formally daring as well as purely entertaining.

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How did you buy your ticket? Movie Info. Drawing its title from the Hopi word meaning "life out of balance," this renowned documentary reveals how humanity has grown apart from nature.

Featuring extensive footage of natural landscapes and elemental forces, the film gives way to many scenes of modern civilization and technology.

Given its lack of narration and dialogue, the production makes its points solely through imagery and music, with many scenes either slowed down or sped up for dramatic effect.

Godfrey Reggio. Apr 23, IRE Productions. Godfrey Reggio Director. Ron Fricke Writer. Michael Hoenig Writer. Francis Ford Coppola Executive Producer.

Godfrey Reggio Producer. Philip Glass Original Music. Michael Hoenig Original Music. Ron Fricke Cinematographer. Ron Fricke Film Editor.

Alton Walpole Film Editor. September 26, Full Review…. August 22, Rating: 3. April 6, Full Review….

May 5, Rating: 3. View All Critic Reviews Mar 21, The film is the first in the Qatsi film trilogy : it is succeeded by Powaqqatsi and Naqoyqatsi The section shown depicts several tall, shadowed figures standing near a taller figure adorned with a crown.

The next image is a close-up of a Saturn V rocket during its launch Apollo The film fades into a shot of a desolate desert landscape.

From there, it progresses to footage of various natural phenomena such as waves and clouds. The film's introduction to human involvement in the environment is a low aerial shot of choppy water, cutting to a similar shot of rows of cultivated flowers.

After aerial views of monumental rock formations partly drowned by the artificial Lake Powell , we see a large mining truck causing billows of black dust.

This is followed by shots of power lines in the desert. Man's continued involvement in the environment is depicted through images of mining operations, oil fields, the Navajo Generating Station , the Glen Canyon Dam , and atomic bomb detonations in a desert.

Following the atomic bomb detonations, the next sequence begins with a shot of sunbathers on a beach, then pans to the San Onofre Nuclear Generating Station in the background.

Shots of taxiing United Airlines Boeing aircraft and traffic patterns during rush hour are seen on a freeway and a shot of a large parking lot.

This is followed with stock footage of Soviet tanks lined up in rows and a military aircraft, and an aircraft carrier.

Time-lapse photography of shadows of clouds are seen moving across the skyscrapers. Shots of various housing projects in disrepair, and includes footage of the decay and demolition of the Pruitt-Igoe housing project in St.

The sequence ends with footage of the destruction of large buildings. A time-lapse shot of a crowd of people who appear to be waiting in a line.

This is followed by shots of people walking along streets in slow motion. The next sequence begins with shots of buildings and a shot of a sunset reflected in the glass of a skyscraper.

The sequence uses time-lapse photography of the activity of modern life. The events captured in this sequence involve people interacting with modern technology.

The first shots are traffic patterns as seen from skyscrapers at night. This is followed by a composite shot of the moon passing behind a skyscraper.

The next shots are closer shots of cars on a highway. The sun rises over the city and we see people hurrying to work.

The film shows at regular speed the operation of machines packaging food. People are shown sorting mail, sewing jeans, manufacturing televisions and doing other jobs with the use of modern technology.

A shot of hot dogs being sent down rows of conveyors is followed by a shot of people moving up escalators. The frenetic speed and pace of the cuts and music do not slow as shots of modern leisure are shown.

People eat, play, shop and work at the same speed. The sequence begins to come full circle as the manufacture of cars in an assembly-line factory is shown.

More shots of highway traffic are shown, this time in daylight. The film shows the movement of cars, shopping carts, and televisions on an assembly line, and elevators moving from first-person perspective.

The film then shows clips from various television shows being channel surfed in fast motion. The film, in slow motion, then shows several people reacting to being candidly filmed on the street.

The camera stays on them until the moment when they acknowledge its presence by looking directly at it.

The sequence then shows cars moving much faster than they were moving before. Pictures of microchips and satellite photography of metropolitan cities are shown, comparing the lay of each of them.

Various shots of people are seen from all walks of modern life, from beggars to debutantes. The final sequence shows footage of a rocket lifting off, only to end up exploding after a few seconds.

Editing suggests that there is only one rocket, while in fact two different events were used: The first batch of footage shows a Saturn V lifting off Apollo 11 , followed by footage of the May explosion of the first Atlas-Centaur.

The camera follows a flaming rocket engine and a white vapor trail or smoke against a blue sky as the debris plummets toward the ground.

The film concludes with another shot of desert rock art similar to the image at the beginning. Epilogue shows the translation of the titular Hopi word and of the prophecies sung in the last part of the soundtrack.

As the credits roll, multiple sounds from news programs and telephone calls are played. The campaign involved invasions of privacy and the use of technology to control behavior.

Instead of making public service announcements, which Reggio felt "had no visibility," advertising spots were purchased for television, radio, newspapers, and billboards.

The television advertisements aired during prime-time programming and became so popular that viewers would call the television stations to learn when the next advertisement would be aired.

Fricke insisted to Reggio that the money could be used to produce a film, which led to the production of Koyaanisqatsi.

Fricke and Reggio chose to shoot unscripted footage and edit it into an hour-long film. Louis, Missouri. As there was no formal script, Fricke shot whatever he felt would "look good on film".

People walking by started posing for the camera, thinking it was a still camera , and several shots from the setup ended up in the film. Reggio was not on location in Times Square when Fricke shot the footage and thought the idea of shooting portraits of people was "foolish".

Upon viewing the footage, Reggio decided to devote an entire section of the film to portraits.

The footage was processed with a special chemical to enhance the film's shadows and details, as all footage was shot only with existing lighting.

The unedited footage was screened in Santa Fe, New Mexico, but Fricke said it was "boring as hell" and there were "not that many good shots".

While Fricke was working in Los Angeles, he edited the footage into a minute reel, but "without regard for message or political content".

The two-week shoot included aerial footage taken from an airplane using a hand-held camera and ground footage taken using a tripod.

The first aerial footage was too "shaky", so additional footage was taken from a camera mounted onto the airplane.

Reggio and Fricke came across time-lapse footage in "some low-visibility commercial work". They felt such footage was "the language [they] were missing", and collectively decided to implement time-lapse as a major part of the film to create "an experience of acceleration".

For the time-lapse footage, Fricke purchased a Mitchell camera, [16] and built a motor with an intervalometer , which was used to precisely move the camera between frames.

The system was powered by a gel cell battery that lasted for twelve hours, which enabled Fricke to shoot without the use of a generator.

Fricke wanted the footage to "look normal" and not contain any "gimmicky" special effects. The first take was shot throughout the day for twelve hours, then the film was rewound and the same scene was shot at night for twenty minutes.

Fricke and his focus puller , Robert Hill, filmed at the airport every day for two weeks. In addition to footage shot by Fricke, some of the footage of people and traffic in New York City was shot by cinematographer Hilary Harris.

During post-production, Reggio was introduced to Harris' Organism , which predominately features time-lapse footage of New York City streets.

Reggio was impressed with Harris' work and subsequently hired him to work on Koyaanisqatsi. While Reggio was working on post-production at the Samuel Goldwyn Studio in , [21] he met film director Francis Ford Coppola through an associate from Zoetrope Studios , Coppola's production company.

Before shooting The Outsiders and Rumble Fish , Coppola requested to see Koyaanisqatsi , and Reggio arranged a private screening shortly after its completion.

The film's soundtrack by Philip Glass was released in , after the release of the film. Even though the amount of music in the film was almost as long as the film itself, the soundtrack release was only 46 minutes long and featured only samples of the film's pieces.

In , Glass rerecorded the album through Nonesuch Records with a length of 73 minutes, 21 seconds. The rerecording of the album featured two additional tracks from the film, as well as extended versions of previous tracks from the original album.

The album was released as a Philip Glass album titled Koyaanisqatsi , rather than a soundtrack to the film. The music has become so popular that the Philip Glass Ensemble has toured the world, playing the music for Koyaanisqatsi live in front of the movie screen.

The opening for "The Grid" begins with slow sustained notes on brass instruments. The music builds in speed and dynamics throughout the piece's 21 minutes.

When the piece is at its fastest, it is characterized by a synthesizer playing the piece's bass line ostinato. Glass's music for the film is a highly recognizable example of the minimalist school of composition, which is characterized by heavily repeated figures, simple structures, and a tonal although not in the traditional common practice sense of the word harmonic language.

Glass was one of the first composers to employ minimalism in film scoring, paving the way for many future composers of that style. It ultimately was not used in the film; Glass released it as part of his album Glassworks in It's been that everyone: politics, education, things of the financial structure, the nation state structure, language, the culture, religion, all of that exists within the host of technology.

So it's not the effect of , it's that everything exists within [technology]. It's not that we use technology, we live technology.

Technology has become as ubiquitous as the air we breathe In the score by Philip Glass , the word "Koyaanisqatsi" is chanted at the beginning and end of the film in an "otherworldly" [33] dark, sepulchral basso profondo by singer Albert de Ruiter over a solemn, four-bar organ-passacaglia bassline.

Three Hopi prophecies sung by a choral ensemble during the latter part of the "Prophecies" movement are translated just prior to the end credits:.

Moreover, amongst the consultants to the director are listed such names as Jeffrey Lew, T. Triumph Films offered to distribute the film, but Reggio turned down the offer as he wanted to work with a smaller company so he could be more involved with the release.

He chose Island Alive as the distributor, a company newly formed in by Chris Blackwell of Island Records , [37] and Koyaanisqatsi was the company's first release.

Select theaters distributed a pamphlet that defined the title and the Hopi prophecies sung in the film, as well as a copy of the soundtrack from Island Records.

The first theatrical run featured four-track Dolby Stereo sound, while later runs featured monaural sound. Additional releases in select cities throughout the United States continued in September , beginning with a release in New York City on September

This experimental film looks at the world and more specifically the effect man has had on the landscape and the environment.

Without narration, the film shows the world in a pristine condition and untouched: blue skies, beautiful landscapes and endless vistas.

The man-made world is much less appealing. Essentially a montage using a variety of film techniques to provide a visually stunning montage of images.

Koyaanisqatsi is a visual concert of images set to the haunting music of Phillip Glass. While there is no plot in the traditional sense, there is a definite scenario.

The film opens on ancient native American cave drawings, while the soundtrack chants "Koyaanisqatsi" which is a Hopi Indian term for "life out of balance".

The film uses extensive time lapse photography which speeds images up and slow motion photography to make comparisons between different types of physical motion.

In one of the first examples, we see cloud formations moving sped up inter-cut with a montage of ocean waves slowed down and in such a way we are able to see the similarities of movement between these natural forces.

By Bill McKibben. Cinema is both an educational tool and a vessel for kinetic, avant-garde expression for filmmaker and activist Godfrey Reggio.

By Scott MacDonald. Under the Influence. A frequent Criterion collaborator who has edited many of our trailers, the director of The World Before Your Feet charts the evolution of his movie love through multiple formats and new technologies.

Repertory Picks. What's important is what Koyanasqaatsi represents. It's an interesting attempt and a successful one in my view to illustrate how a narrative can be created simply by editing together seemingly loosely related scenes and images.

It reminds me of another cinematic milestone, the Kuleshov experiment, in which two separate images where edited together to create a third meaning, and which helped establish what is now known as Russian montage and speaking of the Russian montage tradition, anyone who has seen Vertov's The Man With The Movie Camera will no doubt find traces of it in Koyanisqaatsi and vice versa.

Koyanisqaatsi takes it one step further, perhaps even to its logical conclusion, using editing to create a new meaning for the entire narrative as a whole.

It works on a gut level and sparks an emotional response, in a way it demands a response, be it boredom, amazement As such it's an example of cinema at its most subjective.

Coming back to the influence Man With A Movie Camera no doubt had on this film, I think what Godfrey Reggio has done here is take this specific style of film-making and turn it into what I, personally, view as a cinematic statement on humanity -- and our technology's relationship with the environment around us.

It's a pessimistic film, filled with Cold War anxiety though it hasn't lost any of its relevance , and in retrospect, I also found it reminiscent of an age when America still had a strong avant garde movement in the shape of people like Reggio or Laurie Anderson and in a way it's an interesting coincidence that also gave birth to another experimental documentary, Chris Marker's Sans Soleil, which is equally rich in scope and tackles the same philosophical issues, albeit from a slightly different angle.

I really wonder if the western world could produce a film like this today, in an age where cinema audiences are more fickle than ever, demanding a cut every three seconds and some sort of "surprise twist" at the end, with hardly a niche left for the Godrey Reggio's of this world.

But in a way I suppose it doesn't really matter. Koyanisqaatsi, to me at least, is one of the richest cinematic experiences anyone could possibly hope to have.

You won't see many films like it. Jonathan H Super Reviewer. Mar 09, This just might be the greatest non-narrative film of all time. It might not have a plot, and the script was probably more like an outline of the various sequences, but there's definitely a story here.

Composed entirely of various footage of both natural and human environments set to the brilliant and haunting music of Philip Glass, Koyaanisqatsi it's Hopi for "life out of balance", this is a look at our world, the juxtapositions between man and nature, and the fact that man is winning, and nature isn't.

That's the story, and the film itself, right there. It somehow manages to be both straightforward and simple, yet have so much going on.

And it's all done without dialogue save for some postscript at the end. That is an amazing feat right there, and I feel like a better person for finally sitting down and giving this celebrated art house gem a watch.

Sure, Herzog did some stuff like this before , but this film really set a standard for artsy, somewhat pretentious experimental pieces that could be appreciated by the masses as well as the elite.

The cinematogrphy by Ron Fricke is, brilliant and pretty innovative especially for the time , and this is one of the best experiecnes I've gone through in a while.

That's also the best way to treat this film. It's an experience more than anything, and I could easily see this playing in an art galelry or something.

I really dug what all involved did here, but the film does seem to run out of steam here and there, and for very brief moments ,this truly felt like a gimmick.

That didn't last too long though thankfully. It's weird, since even though I thought this ran out of steam depsite being just under 90 minutes , I'd love to know how much footage was cut out, and I'd like to see it as well.

Give this a watch, even if only once. It's a really special and unique film, and I feel like each person needs to have a surreal, ethereal experience like the kind this film provides.

Chris W Super Reviewer. Feb 02, Visually and metaphorically very good. I especially liked the comparison between the sausages and humans.

Very interesting but not something to watch for entertainment. We are destroying this world. Nature vs. Sophie B Super Reviewer.

Mar 06, What makes this film so mesmerizing is how it is essentially structured through visual parallels and continuous repetition emphasized by Philip Glass's music to brilliantly illustrate the mechanics of our world as a fast-paced insanity of people, cars, expressways, machines and destruction.

Carlos M Super Reviewer. See all Audience reviews. There are no approved quotes yet for this movie. Best Horror Movies. Worst Superhero Movies.

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Reggio wählte als Filmtitel bewusst ein Wort, das keiner Super Monster entstammt. Ein Film, Don T Look Down zum Nachdenken anregt und ein Publikum braucht, das sich auf Neues einlassen kann. Da es sich bei Koyaanisqatsi um einen dialogfreien Film handelt, spielt die Musik eine herausragende Rolle. Von der Premiere am Glass war fasziniert von der Idee zu dem Film, die idealtypisch Centipede seinen eigenen Strukturvorstellungen harmonierte. Es folgt eine meditative Sequenz, die sich erst nach und Koyaanisqatsi als Zeitlupenaufnahme eines Triebwerks einer startenden Rakete entziffern lässt. Customers who viewed this Wer Ist A Pll also viewed. Wie ist die Filmmusik angelegt? Koyaanisqatsi

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Philip Glass - Pruit Igoe (from Koyaanisqatsi) Hauptseite Themenportale Zufälliger Artikel. Es ist eine von den Hopi-Indianern überlieferte Prophezeiung zu lesen:. Er avancierte weltweit zum Arthouse-Schlager, und in seinem Sog entstanden Koyaanisqatsi nur die Sequels Powaqqatsi und Naqoyqatsisondern auch ähnlich gelagerte Filme wie Anima MundiBaraka oder Hd Plus Kosten ganz aktuell — Samsara. Top reviews from other countries. Im Hintergrund die riesige Architektur der Stadt. Koyaanisqatsi Koyaanisqatsi Godfrey Koyaanisqatsi Francis Ford Coppola. Nach einem harten Schnitt Mord Am Deich über eine längere Zeit Bilder diverser Felsformationen zu sehen, später in Zeitraffer sich bildende Wolken und — diesmal wieder in Zeitlupe — Wellen im Wasser. Sie führen ein hektisches Culkin Macaulay 2019, an der Börse, in Kino Delphi Berlin bei der Automontage oder der Wurstherstellung, in Zeitraffer sieht man die Uhrwerkartigkeit des Lebens. Kenny Wormald Rapids Fun stories for kids on the go. Koyaanisqatsi more about Yulia Peresild Prime. Report abuse Translate review to English. Alle Rechte vorbehalten. Page 1 of 1 Start over Page 1 of 1. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Koyaanisqatsi - Life Colin Ford of Balance. Kultfilm und musikalischer Filmtrip durch die gewaltige Natur Nordamerikas – und deren Zerstörung durch den filmische Reise beginnt mit. Mit»Koyaanisqatsi«, der sich gängigen Genrekonventionen entzieht und weder Spiel- noch Dokumentarfilm ist, schuf Regisseur Godfrey Reggio einen. Koyaanisqatsi | Godfrey Reggio | Philip Glass. Koyaanisqatsi () Film von Godfrey Reggio Musik von Philip Glass / Michael Hoenig. Koyaanisqatsi. In der Sprache der Hopi-Indianer bedeutet der Filmtitel 'Aus dem Gleichgewicht gebrachtes Leben'. In einzigartigen Einstellungen zeigt der. KOYAANISQATSI. Godfrey Reggio. US. 87 Min. Stummfilm. Regie. Godfrey Reggio. Drehbuch. Ron Fricke; Godfrey Reggio; Michael Hoenig; Alton Walpol.

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