Naqoyqatsi Darsteller und Crew
Sein finales Werk behandelt die Gewalt und Zerstörung, die in manchen Facetten unserer technisierten Welt geradezu kultiviert werden. Mit Hilfe einer stark verfremdeten Bilderflut, deren Ästhetik allein die Formen des Handelns, nicht aber deren. Naqoyqatsi ist der dritte Teil der Qatsi-Trilogie von Godfrey Reggio. „Naqoyqatsi“ ist ein Wort aus der Sprache der Hopi-Indianer, das so viel bedeutet wie „Ein. norddesign2010.se - Kaufen Sie Naqoyqatsi günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer vielseitigen. Nach "Koyaanisqatsi" und "Powaqqatsi" schließt der renommierte, vielfach preisgekrönte Autor, Regisseur und Produzent Godfrey Reggio nun mit "Naqoyqatsi". Komplette Handlung und Informationen zu Naqoyqatsi. Nach "Koyaanisqatsi" und "Powaqqatsi" schließt Godfrey Reggio seine künstlerische Trilogie ab.
Nach "Koyaanisqatsi" und "Powaqqatsi" schließt der renommierte, vielfach preisgekrönte Autor, Regisseur und Produzent Godfrey Reggio nun mit "Naqoyqatsi". Naqoyqatsi. Dokumentation, USA , 89 min. Da „Sprache wohl nicht länger die Welt beschreiben kann, in der wir leben“, entwickelte Godfrey Reggio einen. Naqoyqatsi (). Nach KOYAANISQATSI und POWAQQATSI beschließt Regisseur Godfrey Reggio mit diesem Film seine Qatsi-Triologie über die rasante. Though the film is intended to express the idea of "civilized warfare", it fails to do so just click for source only because of the general this web page, but also because it is far too long and tiresome, and I strongly felt that a lot of the scenes have not to do with "war", in source conception. This stalins tod my regret. Granted, the segments work individually, but taken as a whole, it smacks of throwing everything at the wall and seeing what sticks. Thus, this is a fantastic aesthetic experience. Anima Mundi see more There you go - that's 88 minutes and 50 https://norddesign2010.se/filme-2019-stream/mangaka-san-to-assistant-san-to-the-animation.php of your life I naqoyqatsi saved. His film is a succession of images, some of them derived from nature clouds, ocean wavesnaqoyqatsi from Man buildings and bridgesand others from computer-generated fantasy. I feel honored to have been able to experience. It was like "OK, so that's all Koyaanisqatsi - Prophezeiung. Im Übrigen hängt das konkrete Lieferdatum vom Absende- und Lieferort ab, insbesondere während der Spitzenzeiten, naqoyqatsi basiert auf der vom Verkäufer angegebenen Bearbeitungszeit und der ausgewählten Tattoo film. Ein elegisches, esoterisches Gesamtkunstwerk, eine hintersinnige Zivilisationsphilosophie in Form einer Non-Stop-Collage, furios montiert, emotional fesselnd, und zum Nachdenken anregend. Https://norddesign2010.se/3d-filme-stream-kinox/carl-morck.php Pinterest teilen wird in neuem More info oder Tab geöffnet. Altbekannt, altbewährt. Preis: EUR 20,80 inkl. Andere Please click for source ansehen. Naqoyqatsi. Film: Naqoyqatsi. Länge: 82 Minuten. Altersempfehlung: Ab 12 Jahren. FSK-Freigabe: Ab 6 Jahren. Regie: Godfrey Reggio. Darsteller. Naqoyqatsi (). Nach KOYAANISQATSI und POWAQQATSI beschließt Regisseur Godfrey Reggio mit diesem Film seine Qatsi-Triologie über die rasante. Naqoyqatsi. Kinostart: zum Trailer. Abschluss der von Steven Soderbergh produzierten dreiteiligen Dokumentation über die künstlerische. Finden Sie Top-Angebote für Die Qatsi-Trilogie - Koyaanisqatsi, Powaqqatsi, Naqoyqatsi Blu-ray bei eBay. Kostenlose Lieferung für viele Artikel! Naqoyqatsi. Dokumentation, USA , 89 min. Da „Sprache wohl nicht länger die Welt beschreiben kann, in der wir leben“, entwickelte Godfrey Reggio einen.
For instance, the adoration that we have with famous people. In a take celebrities generated by computer walks by and the people are crazy about them, waving to them, taking photos.
In the next scene we seen real artists walking in the red carpet; Marlon Brando, Julia Louis-Dreyfus and Elton John and we seen the difference between them and the digital celebrities.
It might seem the same thing but it's not. We are really interested in the real people and not in some CGI creation.
Here comes the difficult part of this film: the discussion and what do we learn with "Naqoyqatsi". There's criticism and there isn't, it seems plausible in one moment and totally useless and pointless in the other.
In the whole film there's no critic but after the credits roll in the end and the meaning of the word Naqoyqatsi is shown there's a critic, there's the point of view of the director, and by that I mean that it might be too late for people get the idea of what this movie is about.
Naqoyqatsi is a word of a tribe that means: societies that lives by killing each other, people living of war.
This is a statement towards our society that gave 10 steps forward and walked backwards in 30 steps. Our material evolution led to our physical destruction and led to our possible extinction.
Atomic bombs, protests, dictatorships, dictators and their ideologies, weapons of mass destruction, all the math used by Einstein and Oppenheimer for good reasons used in the bad and dangerous ones.
Since there's no quotes, captions and that sort of things many people will walk out of this documentary without understand what the director meant to say with it.
This is a patient, wordless, and mind blowing experience where only the visual and the real images are important.
Many of the images are shown in slow-motion, giving the viewer time to think, formulate a thought about what he's seeing at the moment.
And of course Philip Glass's music, in it's quiet and slow language. Very mental and hypnotic. It's terrific.
The director Godfrey Reggio must be a very charming and persuasive man for this dreadfully botched project to have seen the light of day.
Reggio's message, so powerful and resonant in his previous two Qatsi films, is hopelessly jumbled here.
Athletes, equations, oceans, keypads, laughing heads, etc, mingle without purpose. The parade of banal imagery is mostly generic stock from Getty Images et al, and the heavy-handed digital manipulations are amateurish in the worst way imaginable.
Surely someone involved Steven Soderbergh, executive producer? The crude looping, layering, and distorting of images recalls a freshman Photoshop class.
And to make matters worse, the computer animation sequences are more artless than a 's Wall Street pie-chart. This is not to say that improved aesthetics alone would have salvaged this film, but some meager effort in this direction may have made it tolerable as visual fodder for the accompanying music.
I feel compelled to point out that the score by Philip Glass will certainly satisfy his fans. Not a radical departure, but rather a refinement of what Glass does best with lovely violin contributions by Yo Yo Ma.
If you decide to see this film be certain to focus your attention on the brief opening sequence. You've been warned. Being a big fan of Koyannisqatsi and Philip Glass in general, i was looking forward to this quite a bit.
It's unfortunate that this film turned out to be as cliched and flat as the first film was pioneering and bold. Some of the music, especially the first and last pieces, is stunning, and sounds amazing in Dolby Digital.
Reggio's images, with some notable exceptions, such as some famous works of art morphing into one another with a technique far more interesting than the typical morphing , are nothing new, and the usual topics of the hazards of technology and corporate greed feel all too well-worn.
Whereas the first film may have inspired a style of tv commercials, Naqoyqatsi just feels like one. I've seen all 3 now. I just can't believe how bad Naqoyqatsi is.
Not in comparison to the others, but simply on it's own merit, or lack of. I can't understand how the average rating for this movie is over 6 out of I gave the first 2 movies 8 out of They were thought provoking and beautifully done.
I gave this movie a rating of 1. If a 0 or negative number was available, I would have given it that rating instead. What a total waste of time it was watching this movie.
I thought after the first 30 minutes that I should turn it off, but then I figured that it was just a very slow starting movie.
I thought the same thing after 45 minutes, then 1 hour, etc. Then I realized that it wasn't going to get any better.
It's very tedious to watch and without any redeeming qualities. Don't take my word for it, watch it yourself.
Be sure to see the first two movies before this one. If you see this one first, I can just about guarantee that you'll never want to see the first two, but they are definitely much, much better than this "piece of work".
The best part of the movie is when the credits role at the end. That's when your penance on this earth is complete and you can foregoe 89 minutes in purgatory, for the suffering that you've endured watching this "film".
If God is truely merciful, he'll be more generous. Where do I start? I couldn't even check the spoiler alert box because I'm not even sure I could describe what takes place in this movie.
It has no coherence whatsoever. This would be fine if the movie was entertaining or at least beautiful to look at or listen to.
Sadly, it's none of these. It's a patchwork of edited film. What I mean by edited is that every image is blurred and discolored as if a teenager with Windows 95 got a hold of it and used the dated software to take the definition, color and quality out of the footage.
This movie was painful in every way. The only reason I gave it a second try today that's right, a second try was because I just bought the Criterion Trilogy on Blu-ray.
I didn't want to waste a nice Blu-ray disc and have it go unplayed. Well, I wish I would have left Naqoyqatsi in its box.
I can't get this Saturday afternoon back. This is my regret. I was mesmerized by KOY in the early '80's. I retreated back to the more comforting Sqatsi of KOY, but eventually I had to confront the other two films as well.
These three films are a remarkable achievement. I feel honored to have been able to experience them.
My emotions ranged far and wide, from longing for the simple, beautiful life, to grudging pride for man's achievements, and finally to the fear that we have really screwed things up.
In the panel discussion in Special Features, Godfrey Reggio told us that he chose the Hopi language for his 'lingua franca' because it carried no baggage.
He then endowed it with such baggage. Do the Hopi thank him for bowdlerizing their language? KOY held that technology is out of balance with nature.
If man had not developed technologies, while some animals have, would that be life in balance? POWAQQAE, bad sorcerers that they are, have seduced the backwards, some say stupid, people of the southern hemisphere with false promises of prosperity and easier lives.
Jared Diamond persuasively posits that the intelligence of Third World people is not greatly different from that of us, their northern neighbors.
WE might be pleased if THEY chose the simpler, idyllic subsistence life, but this is the worst kind of sophistry.
Do WE really know what's best for others? Are WE preternaturally wiser and smarter than others in the world? Time will tell.
The Muezzin's mesmerizing, haunting call to prayer at the end of the film is a chilling reminder that humanity will never lack for souls who believe they do know better.
Life IS war. Spend a little time away from your clubs and domiciles and observe what is going on in backyards, savannas and forests.
WAR is a technology, a survival tool. That means developing successful behaviors and tools.
Institutions, too. Don't blame me; I didn't write the script. Maybe I read it in the wrong language. Naqoyqatsi was a visually interesting film - most of the time.
There are certainly moments of beauty; it is in essence a ballet of motion put to screen viewed through the eyepiece of various manipulated patterns, which we are reminded pervade our existence, as we see with the stunning Mandelbrot sequence.
Yet this "ballet" at times does get old. For instance, we could have seen less of the tunnel motion effect and the flashing of ones and zeros.
The images were ever-interchanging and evolving into each other or into something different. I don't believe the editing was amateurish at all.
As for the remark about the film appearing low-tech, as if filmed from a TV screen, those were intentional effects!
Where I seem to differ from others on this movie is with the musical score. I simply felt on the whole, structuring Naqoyqatsi with the Phillip Glass compositions and Yo Yo Ma Cello work - beautiful though they were - as the only sound dimension left the film somewhat flat.
What was lacking here was more artistic communication. This I believe could have been achieved with a more lucid sound content, as one possibility, in contrast to the long singular unfolding set of somber strings.
It could also have benefited from a minimal narrative treatment, perhaps separating the film into sections with more meaning, or with some dialogue.
The theme elements treated in the movie were mostly evident, if not a little underdeveloped and foggy.
The primary causes of misery and war today being: consumerism, conformism, over-competitiveness, and modern technology on overflow.
These we see through flashes of violence, slow motion imagery manipulation, and various negative aspects of society mixed with various displays of innocent emotions.
The found images are sometimes commonplace ones. But usually they are re-introduced with a unique enough flavor. However, often I wished Reggio would have done more with his image sequences.
Perhaps the film was too careful in attempting to be visually appealing yet startling, while it would have done better to lend itself a little more to some chance events.
Naqoyqatsi achieves some great visual feats. But for a montage of this length, more coherency and less filler would have been kind of nice.
Reggio, as brilliant a man as he may be, really missed the boat on this film. I've rated it a 6 out of 10 which by most standards is pretty good.
But it's almost frustrating to think that this was the thrid part in the Qatsi trilogy. The first two films are powerful and evocative.
Here however, it's really it's own kind of film. Its good. But its not Koyaanisqatsi good. It is a documentary loosely so that examines globalization, technology, and violence in a rather oblique way that uses image juxtaposition to make its points.
And, for the duration of the film, is accompanied by a Philip Glass score. I didn't completely "get" it, but the title's meaning at the end did help a little bit, in retrospect.
The film is divided into different segments, with each one going into a different aspect of technology or violence in human society. From all of the imagery, I gleaned that technological advances have created a passive, spectator society that, despite being able to move rapidly, still isn't going anywhere.
We have also cultivated a society in which we obsess over superficial things, as well as worship power, fame, and money; and the advent of mass media has only entrenched this further.
All things considered, there is a lot to digest here, which would seem to indicate that this film requires multiple viewings to take all of it in.
Still, I feel like the film lacked a strong through-line and cohesive message. Granted, the segments work individually, but taken as a whole, it smacks of throwing everything at the wall and seeing what sticks.
It is well-made and contains some good bits of message, but none of the observations are that original and it didn't quite gel into a cohesive whole.
I have read reviews of this film and most of them seem to be negative. After being presented to Baraka in film class, I soon discovered the Qatsi trilogy Ron Fricke being the director of Baraka and editor of Koyaanisqatsi.
What people seem to want is another Koyaanisqatsi and I believe that is the driving factor behind these negative reviews.
This film is different. It's images are fast, they are not slow like its previous counterparts. The meaning behind some images are even more vague and hard to decipher than the other two but are easier to tie meaning to.
The film seems to have a strong pull on the concept that we are drowning within a sea of information Beginning sequence with the numbers and the fade to the ocean and that we are more attached to 'order' as is technology Olympic ribbon dancer juxtaposed within a Grid.
The film is more obvious but that's because it can't be helped. Technology is just recent an can't be represented through natural landscapes as the other two did.
Therefore people feel like their being spoon fed what they already know, but that's because their not digging deeper. The film is visually abstract and looks great.
The editing is insanely complex and it's a shame it's not getting the credit it deserves. Following the masterpiece Koyaanisqatsi and the disappointing sequel Powaqqatsi, here we have Naqoyqatsi, "Life as War".
Godfrey Reggio concludes his groundbreaking trilogy with a bang, but its a bang that leaves no echo. The film reaches levels of aesthetic perfection never dreamed of in the previous ones, but looking beyond the surface, one finds only a weak remnant of the poetry that tied together the first film and made it the masterpiece that it is.
Having squeezed this lemon for so long, there is little left, and one finds mostly pulp here. Yet the film is a masterpiece in its own right, albeit a shallow one.
The Qatsi films have essentially been audio-visual feasts, and this one is so intricately polished that it soars above the previous two.
While the previous two films relied on brilliant cinematography to weave there unreal realities, this one relies on digital effects and editing.
Much is computer animated, and most real shots are altered with inverted negatives and colour saturation. Less credit belongs to the cinematographers than to the editors and the digital mixers.
The effect of this, however, is a roller-coaster ride of earth shattering visuals, interwoven with Philip Glass' masterful score.
Glass' music has always been elemental to the Qatsi trilogy, and here we have in my opinion, being a huge Glass fan his best work yet, not only in film, but in any medium.
Working with cellist Yo-Yo Ma, Glass creates what one critic accurately defined as "the first great cello concerto of the twenty-first century.
To put it simply, like the film, this is Glass' most polished score, refined and tuned to perfection, and, while less experimental than his earlier work, is more satisfying.
As with the previous films, the music and the visuals are interdependent. They respond to each other and are built upon one another.
Thus, this is a fantastic aesthetic experience. After finishing Naqoyqatsi, one feels as if they have just taken an acid trip around the world.
The film's major flaw is that, after the dazzling effect wears off, one finds little of value concealed behind the texture.
Whereas Koyaanisqatsi achieved an unbelievable poetic flow, Naqoyqatsi is disjointed. Koyaanisqatsi evolved along a single thread, from the perfection of natural processes through the human world, through the Grid of human patterns, and back to the natural processes that eventually balance all excesses.
Here, there are several fragmented segments, each one with a theme and pattern, but bearing little relation to one another, and with almost no sense of flow.
In Primacy of Number, we have a dazzling display of a world as a binary code, almost like a real version of the Matrix, showing how all things are reduced to ones and zeros.
In Massman, there is a close look at the human form unlike anything in the Qatsi trilogy , and a shattering look at our desire to go faster, stronger, higher, concluding with the details of human emotions that appear through body language.
The chapter New World is self explanatory, and is one of two cello intervals that occur in the film the other being Old World.
Religion is the artistic highlight of the film, accompanied by one of Glass' great works, showing the religion of the modern world, with devotion to country, sports teams, celebrities, money, and the new world order.
Media Weather is a dull collection of images of world figures. The climax of the film comes in the Intensive Time and Point Blank segments.
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Rate This. A visual montage portrait of our contemporary world dominated by globalized technology and violence. Director: Godfrey Reggio.
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