You’ll be given love
You’ll be taken care of
You’ll be given love
You have to trust it
Maybe not from the sources
You have poured yours
Maybe not from the directions
You are staring at
Twist your head around
It’s all around you
All is full of love
All around you
All is full of love
You just ain’t receiving
All is full of love
Your phone is off the hook
All is full of love
Your doors are all shut
All is full of love!
All is full of love
All is full of love
All is full of love
All is full of love
All is full of love
The first projected sequential proto-movie was made byEadweard Muybridge some time between 1877 and 1880. The first narrative film was created by Louis Le Prince in 1888. It was a two-second film of people walking in Oakwood streets garden, entitled Roundhay Garden Scene. The art of motion pictures grew into full maturity in the “silent era“(1894-1929) before silent films were replaced by “talking pictures” in the late 1920s. Many film scholars and buffs argue that the aesthetic quality of cinema decreased for several years until directors, actors, and production staff adapted to the new “talkies”.
The visual quality of silent movies—especially those produced in the 1920s—was often high. However, there is a widely held misconception that these films were primitive and barely watchable by modern standards. This misconception comes as a result of silent films being played back at wrong speed and their deteriorated condition. Many silent films exist only in second- or third-generation copies, often copied from already damaged and neglected film stock.
As motion pictures eventually increased in length, a replacement was needed for the in-house interpreter who would explain parts of the film. Because silent films had no synchronized sound for dialogue, onscreen intertitles were used to narrate story points, present key dialogue and sometimes even comment on the action for the cinema audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Intertitles (or titles as they were generally called at the time) often became graphic elements themselves, featuring illustrations or abstract decoration that commented on the action.
“Digital Janitor” is one segment from a low budget sci-fi film in progress being developed by a collaboration of film makers from http://ghostswithshitjobs.com. Watch it. It’s refreshingly sardonic.
Metropolisis a 1927 German expressionist epic science fiction drama film directed by Fritz Lang. The film was written by Lang and his wife Thea von Harbou, and starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. A silent film, it was produced by Erich Pommer in the Babelsberg Studios by Universum Film A.G.. It is regarded as a pioneering work of science fiction genre in movies, being among the first feature length movies of the genre.
Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia, and follows the attempts of Freder, the wealthy son of the city’s ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city. Metropolis was filmed in 1925, at a cost of approximately five million Reichsmarks, making it the most expensive film ever released up to that point.
In this film, the mad inventor Rotwang kidnaps the heroine, Maria. You see he’s created a robot to be a replacement for a woman he loved. But it needs a soul! So when the need to get Maria out of the way in the general run of the plot presents itself, he imprints the image of Maria onto his Robot. The lady is in a confined little bed-thing with a big steel helmet on her head with wires coming out. Rotwang throws switches and levers. Chemicals boil, electricity flies, the robot on her throne is surrounded by energy and suddenly changes into the image of Maria. Though when she opens her emotionless eyes, they seem to glow with an inner light. IT’S ALIVE!
This revolutionary film addresses the subject of animating inanimate organisms. Biological engineering and animation of bodies by spiritual beings is thoroughly discussed in the book ALIEN INTERVIEW:
“How else can you explain the source of spiritual animation which defines every living creature? To say it is the work of “god”, is far too broad. Every IS-BE has many names and faces in many times and places. Every IS-BE is a god. When they inhabit a physical object they are the source of Life.”
Metropolis (short synopsis of the film)
Sometime in the future. Johann Fredersen is mastermind of Metropolis, a gigantic high-tech city, under whose surface masses of workers lead an archaic slave existence. His son, Freder, is witness to the inhumane working conditions and rebels against his despotic father, discovering a spiritual community in the catacombs of the city: Maria, a young woman, preaches the virtues of love and reconciliation. But Fredersen discovers Maria as well and conjures up a sinister plan. He commissions the scientist Rotwang to develop a robot form of Maria, which he will use to gain influence over the workers. The plan works, but Freder and Maria are able to hinder the catastrophe in the last minute. The mass hysteria turns and directs its rage toward the robot Maria, who is burned at the stake. Freder and Maria form a new brotherly community among the classes – Fredersen offers his hand in reconciliation, true to the motto of the film: “the mediator between the hand and the brain must be the heart”.
