Fri June 19, 2015
The Steel Beast (Willy Otto Zielke, Germany, 1935)
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at PFA Theater
(see times)
(Das Stahltier)
One of the first programmers to rediscover films made under the Third Reich, Langlois helped bring to light this 1935 German Surrealist-inspired work, “perhaps the most singular film made under the Third Reich” (La Cinémathèque française). “Commissioned to celebrate the centennial of the Nuremberg-Fürth line, this film by a great German photographer from the twenties, Willy Otto Zielke, was a work of the avant-garde that was banned by the Third Reich for its decadent aesthetics. Zielke was influenced by Surrealism, and the film's originality is to be found in its unusual narrative organization, a daring collage of abstractions, rhythms, and historical commentary, all supported by the music of Peter Kreuder. With accentuated angles, a rotating camera, superimpositions, eroticized details of machines, and a prologue edited and framed so as to place the railways in perspective with the industrial world, this is a film with echoes of Dziga Vertov—the commissioned propaganda film that becomes an aesthetic experience” (Dominique Païni, La Cinémathèque française)
• Photographed by Zielke. (75 mins, In German with French subtitles and English electronic titling (minimal dialogue), B&W, 35mm, From La Cinémathèque française)
show less
One of the first programmers to rediscover films made under the Third Reich, Langlois helped bring to light this 1935 German Surrealist-inspired work, “perhaps the most singular film made under the Third Reich” (La Cinémathèque française). “Commissioned to celebrate the centennial of the Nuremberg-Fürth line, this film by a great German photographer from the twenties, Willy Otto Zielke, was a work of the avant-garde that was banned by the Third Reich for its decadent aesthetics. Zielke was influenced by Surrealism, and the film's originality is to be found in its unusual narrative organization, a daring collage of abstractions, rhythms, and historical commentary, all supported by the music of Peter Kreuder. With accentuated angles, a rotating camera, superimpositions, eroticized details of machines, and a prologue edited and framed so as to place the railways in perspective with the industrial world, this is a film with echoes of Dziga Vertov—the commissioned propaganda film that becomes an aesthetic experience” (Dominique Païni, La Cinémathèque française)
• Photographed by Zielke. (75 mins, In German with French subtitles and English electronic titling (minimal dialogue), B&W, 35mm, From La Cinémathèque française)
(Das Stahltier)
One of the first programmers to rediscover films made under the Third Reich, Langlois helped bring to light this 1935 German Surrealist-inspired work, “perhaps the most singular film made under the Third Reich” (La Cinémathèque française). “Commissioned to celebrate the centennial of the Nuremberg-Fürth line, this film by a great German photographer from the twenties, Willy Otto Zielke, was a work of the avant-garde that was banned by the Third Reich for its decadent aesthetics. Zielke was influenced by Surrealism, and the film's originality is to be found in its unusual narrative organization, a daring collage of abstractions, rhythms, and historical commentary, all supported by the music of Peter Kreuder. With accentuated angles, a rotating camera, superimpositions, eroticized details of machines, and a prologue edited and framed so as to place the railways in perspective with the industrial world, this is a film with echoes of Dziga Vertov—the commissioned propaganda film that becomes an aesthetic experience” (Dominique Païni, La Cinémathèque française)
• Photographed by Zielke. (75 mins, In German with French subtitles and English electronic titling (minimal dialogue), B&W, 35mm, From La Cinémathèque française)
read more
One of the first programmers to rediscover films made under the Third Reich, Langlois helped bring to light this 1935 German Surrealist-inspired work, “perhaps the most singular film made under the Third Reich” (La Cinémathèque française). “Commissioned to celebrate the centennial of the Nuremberg-Fürth line, this film by a great German photographer from the twenties, Willy Otto Zielke, was a work of the avant-garde that was banned by the Third Reich for its decadent aesthetics. Zielke was influenced by Surrealism, and the film's originality is to be found in its unusual narrative organization, a daring collage of abstractions, rhythms, and historical commentary, all supported by the music of Peter Kreuder. With accentuated angles, a rotating camera, superimpositions, eroticized details of machines, and a prologue edited and framed so as to place the railways in perspective with the industrial world, this is a film with echoes of Dziga Vertov—the commissioned propaganda film that becomes an aesthetic experience” (Dominique Païni, La Cinémathèque française)
• Photographed by Zielke. (75 mins, In German with French subtitles and English electronic titling (minimal dialogue), B&W, 35mm, From La Cinémathèque française)
show less
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PFA Theater
2575 Bancroft Way, Berkeley, CA 94720
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