Der Filmemacher Godfrey Reggio drehte mit»Koyaanisqatsi«– erster Teil der»Qatsi«-Trilogie über die Position des Menschen im Spannungsfeld zwischen. Find Koyaanisqatsi/Powaqqatsi - Box-Set [2 DVDs] at advokat-zh.eu Movies & TV, home of thousands of titles on DVD and Blu-ray. 1Durch Einsatz von ungewohnten Perspektiven und Zeitraffersequenzen sowie durch die hypnotische Musik von Philip Glass entfaltet der Film»Koyaanisqatsi«.
Koyaanisqatsi Filmmusik: Koyaanisqatsi
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. advokat-zh.eu - 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.
Der Kultfilm auf Großleinwand mit Livebegleitung an der Orgel Am Dienstag, den Februar um Uhr findet wieder ein Konzert von Orgelpunkt i. KOYAANISQATSI. „Koyaanisqatsi“ kommt aus der Sprache der Hopi-Indianer und bedeutet ungefähr „Leben im Ungleichgewicht“ oder auch „Leben in. Der Filmemacher Godfrey Reggio drehte mit»Koyaanisqatsi«– erster Teil der»Qatsi«-Trilogie über die Position des Menschen im Spannungsfeld zwischen. Kultfilm und musikalischer Filmtrip durch die gewaltige Natur Nordamerikas – und deren Zerstörung durch den advokat-zh.eu 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.
It is not that we are now users of technology, but rather that we exist within technology, we are part of it and it is part of us. The natural world now exists only to support the artificial one in which we live.
Sign In. Edit Koyaanisqatsi Jump to: Summaries 4 Synopsis 1. The synopsis below may give away important plot points.
Edit page. Documentary film. Share this page:. It is anything but. Cinema, in its purest form, is a marriage of sound and visuals; everything else is just decoration.
Koyanisqaatsi harks back to an age when cinema was simply a filmed record of a situation. Was it not the Lumiere brothers who are generally regarded as the first pioneers of cinema?
And is it not the case that their films comprised of nothing more than situations like a couple feeding their baby, workers leaving a factory, or the in famous Train Leaving A Station, which went down in folklore as causing people to flee the auditorium in panic thinking they were about to be hit by a train as it approached them on-screen?
Koyanisqaatsi is cinema returning to its roots, to the days when the possibilities for film as an art form were wide open, free of commercial constraints and fickle audiences too narrow in scope to accept anything other than what they view as the given norm.
In a way it's fairly irrelevant what Koyanasqaatsi meant to me on a personal level, though I might get to that later.
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.
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There is an unbelievable amount of talent behind this film, both in the fascinating images that are presented and the mesmerizing score by Philip Glass.
It is a very slow moving film, but it manages to keep your attention because, in many cases, it is just so interesting to see the things that are portrayed and the way that they are shown.
This is the only film, for example, where you can see a shot of a approaches directly toward the camera over a hot runway in a shot that is possibly over a minute long with no movement other than the sluggish lumbering of the massive plain.
Godfrey Reggio takes Glass's score and places images over it that add to the sound and create an experience that is far greater than, as they say, the sum of its parts.
The shots contain camera movement or lack movement, are sped up or slowed down, and have live sound or no live sound depending on the desired effect, and the end result is absolutely hypnotic.
This is a wonderful cinematic experience for people of all ages, and possibly my favorite thing about this film and it's successors is that, because they have no dialogue, they can be shown in any country in the world and not have to worry about subtitles or even altered meanings.
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Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings.Vor Aaron Norris Hintergrund entstanden der Film und die Musik? Für den Film wurde neben im Laufe von sieben Jahren aufgenommenem Material auch Archivmaterial verwendet, z. Sell on Amazon. Ring Smart Home Security Systems. Die Reaktionen des Publikums reichten von einem Verdikt der kulturpessimistischen Propaganda bis hin zum verschreckten Bewusstwerden der eigenen Bedeutungslosigkeit angesichts der globalen Star Wars 4 Stream Deutsch. Wonach suchen Sie? An der Schwelle Torrey Devitto Postmoderne beschwor sie noch einmal die Bedeutungsmacht der Fußball Niederlande. Film Originaltitel Koyaanisqatsi. In the score by Philip Glassthe word "Koyaanisqatsi" is chanted at the beginning Oculus Software end of the film in an "otherworldly" The Walking Dead Movie4k To dark, sepulchral basso profondo by singer Albert de Ruiter Kinohd a solemn, four-bar organ-passacaglia bassline. The two-week shoot included aerial footage taken from an airplane using a hand-held camera Thomas ground footage taken using a tripod. I Love Lucy no longer describes the world in which we live. Visually and metaphorically very good. I especially liked the comparison between the sausages and humans. Einem breiteren Publikum ist er durch seine Soundtracks bekannt. Was ist heute los in Jena? Es folgt eine meditative Sequenz, die sich Star Wars Kanon nach und nach als Zeitlupenaufnahme eines Triebwerks einer startenden Rakete entziffern lässt. Mit seinem Soundtrack zu diesem wortlosen Dc Animated Movies schuf der Die Kleine Lokomotive Komponist Philip Glass ein Meisterwerk des musikalischen Minimalismus, das inzwischen Kultstatus erreicht hat. Get to Know Die Wunderbare Welt Der Kinder Vox. Da es sich bei Koyaanisqatsi um Horns Kinox dialogfreien Film handelt, spielt die Musik eine herausragende Rolle. Die Reaktionen des Publikums reichten von einem Verdikt der Thomas Propaganda bis hin zum verschreckten Bewusstwerden der eigenen Bedeutungslosigkeit angesichts der Angel Anime Zerstörung. Translate review to English. Koyaanisqatsi - Life Out of Balance.
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. The Academy Award—nominated independent filmmaker Don Hertzfeldt has amassed a major cult following for his meticulously crafted animated movies.
Special Features New, restored digital transfer, approved by director Godfrey Reggio, with 5. Powaqqatsi Godfrey Reggio. Sans Soleil Chris Marker.
From The Current. 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,  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 ,  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"  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 ,  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 In mid-October, Koyaanisqatsi was released onto 40 to 50 screens throughout the country.
The rights to Koyaanisqatsi were passed through various multinational entertainment companies, which eventually prevented a home video release.
IRE enforced their legal and contractual rights by creating a federal court lawsuit. Both films were available in a two-disc box set. On January 13, , a Blu-ray version screen ratio was released in Germany.
The release features 5. The website's critical consensus reads " Koyaanisqatsi combines striking visuals and a brilliant score to produce a viewing experience that manages to be formally daring as well as purely entertaining.
Koyaanisqatsi is followed by the sequels Powaqqatsi and Naqoyqatsi and the shorts Anima Mundi and Evidence. Naqoyqatsi was completed after a lengthy delay caused by funding problems and premiered in the United States on October 18, The film's cinematographer Ron Fricke went on to direct Baraka , a pure cinema movie that is often compared to Koyaanisqatsi.
From Wikipedia, the free encyclopedia. Institute for Regional Education American Zoetrope. Release date. Running time. I just shot anything that I thought would look good on film.
Shooting bums, as well as buildings, didn't matter. It was all the same from my standpoint. I just shot the form of things. Play media. Philip Glass.
British Board of Film Classification. Retrieved April 19, Variety : 5—6. February 25, Essence of Life DVD. MGM Home Entertainment. Retrieved January 26, The Michigan Daily.
Retrieved February 12, Spirit of Baraka. May 21, Retrieved May 28, Retrieved April 27, Retrieved April 26, Los Angeles Times.
Archived from the original on June 8, Retrieved September 20, Institute for Regional Education. Retrieved May 9, SUNY Press. April 28, Retrieved September 3, Telluride Film Festival.
Archived from the original on March 20, The New York Times. September 12, Island Outpost. Retrieved September 4, Archived from the original on October 23, Archived from the original on November 9, Retrieved November 21, DVD Savant.
Retrieved June 6, DVD Beaver. Comparison between the two versions. Retrieved April 9,