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onlinegodzillavskongkino · 3 years ago

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1. Juli 2021 Im Kino / 1 Std. 36 Min. / Komödie, Abenteuer, Familie, Fantasy Regie: Sven Unterwaldt Drehbuch: Otto Waalkes, Bernd Eilert Besetzung: Otto Waalkes, Julius Weckauf, Katja Riemann

INHALTSANGABE Es ist das Jahr 1020 als der Hexenmeister Godzilla Vs. Kong (Otto Waalkes) vor den barbarischen Normannen fliehen muss. Mit dem Zauberspruch „Salmei, Dalmei, Adomei!“ will er sich auf und davon machen, doch das geht gehörig schief: Godzilla Vs. Kong landet mitten im Deutschland der Gegenwart! Er trifft auf den 11-jährigen Förstersohn Benny (Julius Weckauf), der Mitleid mit dem komischen Mann hat und ihn bei seinen Eltern versteckt. Die moderne Welt hält für den Zauberer und seine Kröte Kühlwalda einige Überraschungen bereit, von der Glühbirne über Toiletten bis hin zu Ampeln und Autos. Die Erfindungen der Moderne schockieren ihn, üben aber auch eine merkwürdige Faszination auf ihn aus, sodass er sich immer mehr mit der Gegenwart auseinandersetzt. Das ungleiche Duo macht sich auf die Suche nach Godzilla Vs. Kongs Druidenstab, denn nur mit dem hat der kauzige Druide die Chance, wieder in seine Zeit zurückzukehren.

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Definition and definition of film / film

Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story.

There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others.

This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful.

❍❍❍ TV FILM ❍❍❍The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been.

The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

❍❍❍ formats and genres ❍❍❍

See also: List of genres § Film and television formats and genres

TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required]

A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required]

In 2021, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2021, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

❍❍❍ Thanks for everything and have fun watching❍❍❍

Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings!

Thank you for watching The Video Today.

I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited.

Scatter a happy smile so that the world returns in a variety of colors. ”

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divya123-blog2 · 4 years ago

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Seit die Erde von riesigen Kreaturen, den sogenannten Titanen, heimgesucht wird, ist nichts mehr wie vorher. Die Menschheit kämpft um ihr Überleben und sorgt im Rahmen dieses Überlebenskampfes dafür, dass Godzilla und King Kong aufeinandertreffen und sich eine wahrlich titanische Schlacht liefern. Unterdessen versucht die Geheimorganisation Monarch dir Ursprünge der Titanen herauszufinden und beginnt eine gefährliche Mission. Und eine andere Gruppierung will die riesigen Kreaturen ein für allemal auslöschen, egal ob diese gut oder böse sind. Veröffentlicht: 2021-03-24 Laufzeit: 113 Protokoll Genre: Action, Science Fiction Sterne: Alexander Skarsgård, Millie Bobby Brown, Kyle Chandler, Rebecca Hall, Brian Tyree Henry Direktor: Terry Rossio, Eric McLeod, Ronald R. 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The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content. Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is. Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”. ❏ COPYRIGHT CONTENT ❏ Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do

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severethingqueen · 4 years ago

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Um die Welt zu retten, soll Kong von seiner Insel weggebracht werden. Der Transport erfolgt übers Meer. Das Team um Nathan Lind und Ilene Andrews (Alexander Skarsgård, Rebecca Hall) benötigt dabei die Hilfe des kleinen Mädchens Jia (Kaylee Hottle). Das Waisenkind ist der einzige Mensch, dem Kong vertraut. Der Transport verläuft nicht, wie geplant: Godzilla taucht auf und der Kampf der Titanen beginnt. Im Hintergrund aber zieht eine dunkle Macht die Strippen…

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While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful.

TV FILM

The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

Formats and genres

See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] InGodzilla Vs. Kong, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. InGodzilla Vs. Kong, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

Thanks for everything and have fun watching

Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors.

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godzillavskongstreamgerman · 4 years ago

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Der erste Trailer zum Blockbuster "Godzilla vs. Kong" ist bereits im Netzwerk erschienen, in dem der König der Monster und der Wächter von Skull Island auf dem Bildschirm gegeneinander antreten. In der Frequenzweiche waren Millie Bobby Brown, Alexander Skarsgard, Eisa Gonzalez, Kyle Chandler, Rebecca Hall und andere zu sehen.

Der Verschwörung zufolge war die Menschheit dafür verantwortlich, dass Godzilla und Kong gezwungen waren, sich in einem ungleichen Kampf zu vereinen. Die Organisation "Monarch", die das Leben von Monstern auf der Erde verfolgt, sendet eine Expedition in die unbekannten Gebiete von Skull Island, wo sie das Geheimnis der Herkunft der Titanen lüften will. Aber neben "Monarch" gibt es noch andere Leute, die vorhaben, alle guten und schlechten Kreaturen zu zerstören. Godzilla vs. Kong ist der nächste amerikanisch-japanische Science-Fiction-Actionfilm unter der Regie von Adam Wingard. Die Veröffentlichung ist für den 24. März 2021 geplant. Es ist der vierte legendäre MonsterVerse-Film, der vierte Godzilla-Film unter der Regie von Hollywood, der zwölfte Film in der King Kong-Serie und der sechsunddreißigste Film in der Godzilla-Serie. Der erste Trailer wurde am 24. Januar 2021 veröffentlicht.

Godzilla und King Kong waren bereits im japanischen Film von 1962 auf der Leinwand zusammengestoßen. Der Film wurde zum 30-jährigen Jubiläum der Toho Studios gedreht und ist immer noch der kommerziell erfolgreichste japanische Godzilla-Film aller Zeiten. Der Film basiert auf einer Art Ökosystem riesiger Super-Kreaturen - klassisch und neu. Die Monarch-Organisation, die Godzilla 2014 eröffnet hat, wird ihre Aktivitäten in verschiedene Richtungen ausweiten.

Wenn eine neue Bedrohung in unserer Welt auftaucht, treffen sich zwei mythische Monster zu einem aufregenden Duell. Kong und eine Gruppe von Wissenschaftlern begaben sich auf eine gefährliche Reise auf der Suche nach dem Haus des Riesen. Unter ihnen ist das Mädchen Jia, das einzige, das weiß, wie man mit Kong kommuniziert. Plötzlich begegnen sie einer wütenden Godzilla, die alles auf ihrem Weg zerstört. Der Kampf der beiden Titanen, der von unbekannten Kräften provoziert wird, ist nur ein kleiner Teil des Geheimnisses, das in den Eingeweiden der Erde verborgen ist. Die Dreharbeiten begannen im November 2018.

Das Projekt wurde vom kommerziellen Erfolg von Warner Bros. inspiriert. und Legendary - Godzilla, veröffentlicht im Jahr 2014. Trotz der Tatsache, dass das Legendary Studio im Jahr 2013 von Warner Bros. Unter der Leitung von Universal entschied das Unternehmen, dass die Godzilla-Serie in Zusammenarbeit mit Warner Bros. erstellt wird, die Kong als Teil der Serie herausbringen wird. Die Projekte, an denen die Studios arbeiten werden, wurden bereits angekündigt. Sie sind Kong: Skull Island, veröffentlicht am 9. März 2017, und der Actionfilm Godzilla: König der Monster, veröffentlicht am 31. Mai 2019. Godzilla vs. Kong wird 2021 Premiere haben. Der Film basiert auf einer Art "Ökosystem" von riesigen, klassischen und neuen Super-Kreaturen.

Der Film sollte am 21. Mai 2020 veröffentlicht werden [5], aber am 23. Februar 2019 wurde bekannt gegeben, dass die Premiere auf den 13. März 2020 verschoben wurde, um den Kassenwettbewerb mit Fast and Furious 9 zu vermeiden. Aufgrund dieser enttäuschenden Warner Bros. wurde der Film später auf den 20. November 2020 verschoben. Im Sommer 2020 wurde angekündigt, dass die Premiere am 21. Mai 2021 stattfinden würde, wurde jedoch später auf den 26. März 2021 verschoben. Der erste Trailer wurde am 24. Januar 2021 veröffentlicht.

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tomjerrystreamdeutsch · 4 years ago

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Der Warner Bros.-Skandal geht in Hollywood weiter. Nachdem das Studio beschlossen hatte, seine Blockbuster online zu übertragen, wurde es von Regisseuren, die im letzten Moment davon erfahren hatten, und den Kinonetzwerken kritisiert, deren Websites aufgrund der Pandemie und des Fehlens größerer Veröffentlichungen bereits nicht funktionieren. Wir werden Ihnen sagen, wie der Konflikt begann und was er für jede der Parteien bedeuten könnte. Am 3. Dezember kündigte Warner an, seine wichtigsten Hybridmodellversionen im Jahr 2021 herauszubringen. Dies bedeutet, dass Dune, Godzilla vs. Kong, das neue Suicide Squad und The Matrix 4 gleichzeitig auf HBO Max ausgestrahlt werden, das derzeit nur in den USA und Kanada tätig ist, sowie in Theatern in den Ländern, in denen sie geöffnet sind.

Das erste Projekt in der neuen Praxis wird Wonder Woman 1984 sein. Die Amerikaner werden es am 25. Dezember auf HBO Max sehen. In Russland startet das Band am 14. Januar.

Im Jahr 2021 werden 18 Warner-Filme gleichzeitig online und im Kino veröffentlicht. Zusätzlich zu den genannten sind dies "Tom und Jerry", "Mortal Kombat", "Diejenigen, die mir den Tod wünschen", "Beschwörung 3: Durch den Willen des Teufels", "Auf der Höhe eines Traums", "Weltraum" Jam: New Generation "," Remembrance "," Little Things "," The Evil "," The Multiple Saints of Newark "," King Richard "," Men's Tears "und" Judas and the Black Messiah ". Nach der Ankündigung sprach sich das größte Filmnetzwerk AMC gegen Warner aus. Sein Chef, Adam Aron, glaubt, dass das Studio Gewinne opfert, um für HBO Max zu werben. "Wir werden unser Bestes tun, um sicherzustellen, dass Warner seinen Service nicht auf unsere Kosten entwickelt, und wir werden die Bedingungen verteidigen, die unser Geschäft erhalten", versprach der CEO.

Christopher Nolan, der seit über 10 Jahren mit dem Studio zusammenarbeitet, sagte auch, dass Warners Entscheidung keinen "wirtschaftlichen Sinn" habe. Er ist auch unglücklich darüber, dass Warner die Online-Veröffentlichung der Filme ohne vorherige Ankündigung an die Schauspieler, Regisseure und andere Unternehmen, die sie produziert haben, angekündigt hat. "Sie gingen ins Bett und dachten, sie würden für das größte Filmstudio arbeiten. Als sie aufwachten, stellten sie fest, dass ihr Arbeitgeber der schlechteste Streaming-Dienst der Welt war", sagte Nolan. Ein weiteres Problem für Warner waren Filmemacheragenten. Wenn Sie den Film online schalten, sinken die Einnahmen in den Kinos dramatisch, was wahrscheinlich verhindert, dass Schauspieler den Bonus erhalten, auf den sie bei Erfolg an den Kinokassen Anspruch haben. Warner verhandelte mit den Machern von Wonder Woman und zahlte Gal Gadot und Patty Jenkins eine Entschädigung in Höhe von 10 Millionen Dollar, aber Keanu Reeves, Margot Robbie, Will Smith und andere Schauspieler, deren Filme auf HBO Max veröffentlicht werden, erhielten kein solches Angebot. Ihre Agenten waren wütend und in Hollywood verbreiteten sich Gerüchte über einen Boykott des Studios (sie nannten es sogar Former Bros., dh "Former Brothers"). Ein Sprecher der größten US-Agentur WME beklagt, dass Warner sich mehr um den Publikumsfluss zu HBO Max als um die Interessen seiner Kunden kümmert.

Die Konkurrenten von Warner taten dies jedoch anders. Laut THR hat Disney vor der Umstellung seiner Filme auf Streaming die Agenten im Voraus kontaktiert. Gleiches gilt für Universal: Studio-Chefs diskutierten persönlich mit Judd Apatow über die Online-Veröffentlichung von King of Staten Island, und das gesamte Kreativteam erhielt eine Entschädigung.

Der Skandal hat auch eine ethische Seite. Denis Villeneuve, Regisseur von Dune, befürchtet, dass Warner eine ganze kulturelle Sphäre töten könnte, die, wie er bemerkt, Menschen vereint, inspiriert und erzieht. Er ist auch davon überzeugt, dass sich Filme wie Dune ohne Kinos aufgrund von Internetpiraterie nicht auszahlen werden.

Was steckt hinter der Entscheidung des Studios? Laut Ann Sarnoff, CEO von Warner, entschied sich das Studio aufgrund eines Fehlers bei Argument für das Hybridmodell. Trotz der Pandemie bestand Christopher Nolan auf einem weltweiten Kinostart. Der Film kam im September heraus und verdiente 361 Millionen US-Dollar, was einem Scheitern eines 200-Millionen-Projekts gleichkommt.

Gleichzeitig glauben Warner-Partner, dass das Studio gegen frühere Vereinbarungen verstoßen hat, um so viele Abonnenten wie möglich für HBO Max zu gewinnen. Villeneuve hat kürzlich angedeutet, dass AT & T auf diese Weise versucht, seine Schulden zu begleichen, die etwa 150 Milliarden US-Dollar betragen.

Was bedeutet das für Kinos? Die Zukunft der Kinos ist noch ungewiss. AMC steht seit April kurz vor der Schließung. Nach Warners Ankündigung sagte das Unternehmen, es könne im Januar Insolvenz anmelden, wenn es nicht 750 Millionen Dollar verdiene. Im Oktober schloss Cineworld, die zweitgrößte Filmkette der Welt, vorübergehend ihre Standorte in den USA und Großbritannien, nachdem No Time to Die auf nächstes Jahr verschoben wurde.

Am 3. Dezember, als Warner das Hybridmodell ankündigte, brachen die Aktien der Filmkette ein, wobei Cinemark um 21,95% auf 13,30 USD und AMC um 15,97% auf 3,63 USD fiel.

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Voyagers Review: Horny Sci-Fi Movie Needs a Time-Out

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Writer-director Neil Burger has dipped into science fiction both for adults and the YA audience a couple of times throughout his career. First with his 2011 film Limitless, in which Bradley Cooper becomes a mental powerhouse thanks to a mysterious drug; in 2014, he helmed Divergent, one of the last gasps of the dystopian young adult subgenre; and with the new film Voyagers —which features the filmmaker’s first original screenplay since 2008’s The Lucky Ones—Burger plunges full-on into sci-fi with a space-based thriller that takes some familiar material, and… doesn’t do much with it.

There are two familiar—perhaps overly familiar—plot threads happening in Voyagers. On one hand, the story is set on a generation ship, a well-worn genre device in which a group of people board a spacecraft for a vast interstellar journey, knowing that they won’t reach their destination but that their descendants will. In this case, the passengers are a crew of some 30 young people who have been literally bred in a lab for intelligence, loyalty, and dedication to their mission.

Shepherding them on the mission, and the only actual adult on the ship, is Richard (a warm Colin Farrell), the scientist who has supervised the youngsters since birth and feels a moral obligation to accompany them, even though he knows he won’t see the end of the 80-year journey. The kids are headed to a new home for the human race in a distant star system since the Earth is pretty much screwed at this point.

Voyagers also deploys an instantly recognizable plot development that more or less started back in 1954 with the novel Lord of the Flies: put a group of young people in an isolated, closed space for any amount of time, and set a timer to see how long it takes before that group descends into lawlessness and savagery.

With Voyagers, it doesn’t take very long at all because while barely into the mission, friends Christopher (Tye Sheridan from Ready Player One and the last stretch of X-Men movies) and Zac (Fionn Whitehead of Dunkirk fame) make a shocking discovery: a medication the kids must take everyday called the “Blue” (and which is billed as a vitamin supplement) is actually a sedative that is used to suppress all emotions during the trip—including anger, fear, and sexual desire.

Sure enough, Christopher and Zac decide to stop taking the “Blue,” at first keeping this information from Richard but spreading the word among the rest of the kids. It’s not too long before there’s a leadership vacuum on the ship, with Christopher and Zac soon heading up different factions and all hell breaking loose as the crew feels lust, rage, fear, and all sorts of unfamiliar and overwhelming impulses for the first time in their lives.

The premise of placing groups of people inside spaceships and seeing what happens to them under extreme circumstances has cropped up recently, and successfully, in the Swedish-Danish film Aniara and A24’s French-German production, High Life, both released in 2018. Both of those films took their concepts in interesting, existential directions. The problem with Voyagers is that one knows exactly where this film is going pretty early on, and Burger does nothing original or compelling with the material once he starts turning his story into a simplistic Lord of the Flies in space.

The biggest unanswered question is: couldn’t these kids, literally raised to be the cream of the crop in terms of their intelligence and capabilities (they are crewing an interstellar craft, after all), also be cultivated through the same psychological/biological engineering to be emotionally stable without drugs? Wouldn’t keeping them heavily medicated for at least part of the journey create problems even when they’re supposed to be taken off the “Blue” and allowed to start mating?

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There is potentially rich material here to explore in a different, more intellectually satisfying sci-fi drama, but Burger dispenses with all that by the end of the first act. He also dispenses with any real character development. Since we don’t get to know any of these kids very well at all, including other familiar faces like Lily-Rose Depp (The King) and Isaac Hempstead Wright (Game of Thrones’ Bran Stark), we don’t really have a connection to any of them. Their plight becomes more irritating than genuinely gripping.

At least the visual effects are top-notch, and the design of the ship is itself somewhat striking. But the second half of the film just seems to plunge the camera up and down a repetitive series of white corridors as the two warring factions chase, fight, and try to kill each other. But all the neat-looking space gear in the universe can’t do anything to change the fact that Voyagers hits one note and keeps banging away at it, eventually reaching a conclusion that is meant to strike an emotional chord but just feels flat.

Sheridan is appealing enough, even if he’s not a particularly expressive actor, but he’s also not ready for leading man status. His Christopher and Depp’s Sela are supposed to be the moral compasses of the story, but only Depp truly generates some real spark here and there. Whitehead is high-tension right from the start and drops quickly into insanity and hate while everybody else just kind of blurs into the background, including Wright, who still appears to be in semi-comatose Bran mode.

A subplot involving a potential alien force outside the ship is murky and ends up going nowhere, while Burger’s worst decision is introducing montages at various points of psychedelic colors, scenes of animals attacking and hunting each other, and other explosive glimpses of nature—all to hammer home a point we got in the first few minutes.

The movie’s setup has the same template of many a fine story from the past, and not just in science fiction. Burger and company could have taken it in any number of powerful new directions with Voyagers. But we’ve been down the road he’s chosen many times before, and giving it a new coat of futuristic paint doesn’t make the journey feel like it’s moving forward this time.

Voyagers is out in theaters on Friday, April 9.

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Kurzbeschreibung : Um die Welt zu retten, soll Kong von seiner Insel weggebracht werden. Der Transport erfolgt übers Meer. Das Team um Nathan Lind und Ilene Andrews (Alexander Skarsgård, Rebecca Hall) benötigt dabei die Hilfe des kleinen Mädchens Jia (Kaylee Hottle). Das Waisenkind ist der einzige Mensch, dem Kong vertraut. Der Transport verläuft nicht, wie geplant: Godzilla taucht auf und der Kampf der Titanen beginnt. Im Hintergrund aber zieht eine dunkle Macht die Strippen...

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Nach dem Tod von Superman (Henry Cavill) will der außerirdische Bösewicht Steppenwolf die drei Mutterboxen in seinen Besitz bringen, mächtige Artefakte, die einst auf der Erde zurückgelassen wurden. Batman (Ben Affleck) und Wonder Woman (Gal Gadot) arbeiten indes daran, ein Team zusammenzustellen, das die Erde beschützen soll. Doch selbst gemeinsam mit The Flash (Ezra Miller), Aquaman (Jason Momoa) und Cyborg (Ray Fisher) scheinen sie Steppenwolf und seine Armee von geflügelten Paradämonen nicht aufhalten zu können…

Veröffentlicht: 2021-03-18 Laufzeit: 242 Protokoll Genre: Action, Abenteuer, Science Fiction, Fantasy Sterne: Ben Affleck, Henry Cavill, Gal Gadot, Jason Momoa, Ezra Miller Direktor: Charles Roven, Christopher Nolan, Emma Thomas, Dody Dorn, Ben Affleck

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In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful. In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross. The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and given freedoms. Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee. The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. An apt description of the piece is given in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife. The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history). Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income. In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation… they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes… This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney). Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable. Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message. Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. 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film-online-godzilla-vs-kong · 4 years ago

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The Christmas Chronicles 2: Who or What is the Belsnickel?

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While Netflix’s 2018 holiday film, The Christmas Chronicles, didn’t have a clear antagonist—it was more about saving Christmas—the 2020 sequel pits Santa Claus (Kurt Russell) against an elfin protégé-turned-human-rival, Belsnickel (Julian Dennison). But while Belsnickel, with his odd garb and anti-Claus vendetta, might initially seem not to fit into The Christmas Chronicles 2, the character is actually rooted in Yuletide tradition.

According to German folklore that dates back to at least the 18th century, Belsnickel is a foil of sorts to Saint Nicholas, or Santa Claus: a disheveled man dressed in tattered furs and dirty clothes, often wearing a mask with a long tongue and carrying a switch, he visits homes a few weeks before Christmas to check up on children’s behavior. Belsnickel’s name is a combination of belzen (German for “pelt,” which could describe furs and/or walloping) and Nickel, a nickname for the German Nikolaus.

Belsnickel may have been based on an earlier folkloric figure, Knecht Ruprecht, a servant of Saint Nicholas who first appeared in written records in the 17th century as well as in the Brothers Grimm’s works. Jacob Grimm compared him to a kobold or house-elf, yet the stories describe him as a human. While Saint Nicholas is known for rewarding good children, the little ones feared Knecht Ruprecht and Belsnickel, because both knew exactly how to root out the naughty children. Varying folktales describe how each would ask children if they were naughty or nice, with the latter getting cakes and candies, and the former getting a switch across the back for their behavior.

Neither of these figures should be confused with the demonic Krampus, a much older Austrian companion of Saint Nicholas from a pre-Christian Alpine tradition. Krampus goes back to sometime between the 4th and 9th centuries, though Saint Nicholas became popular in Germany around the 11th century, and Krampus seems to have taken until the 17th century to be fully integrated into the Saint Nicholas legend.

By contrast, both Knecht Ruprecht (from northern Germany) and Belsnickel (hailing from the Palatine region of southwestern Germany) are human men dressed in coats or rags. According to the Pittsburgh Post-Gazette, some historians maintain that they are the same person; even so, the character seems to have clearly split around the time that the Pennsylvania Dutch communities were being established in North America in the 1700s. It was in the early 1800s that mentions of Belsnickel appeared in America, alongside the growing mythology of Santa Claus thanks to Clement Clarke Moore’s 1822 poem “A Visit from St. Nicholas.” Many communities, including Philadelphia, had their own local “belsnickels” who would prowl the streets to punish bad behavior.

The Pittsburgh Post-Gazette goes on to explain that in the early 1800s Belsnickel was a regional favorite of Philadelphia, with Santa being the popular one inNew York City; at this time, both cities were much closer in population size. However, by 1820 New York City had nearly double the population of Philadelphia, and its cultural influence grew proportionally. The post-Civil War popularization of Santa Claus through newspaper editorials and Macy’s appearances ultimately caused the family-centric Santa way of celebrating Christmas to win out over Belsnickel’s mischievous revelry.

For fans of The Office, the name might still ring a silver bell: In the season 9 episode “Dwight Christmas,” Dwight Schrute (Rainn Wilson) brings the holiday spirit to Dunder Mifflin by dressing up as Belsnickel. Decked out in pelts and woodland accessories, he dances around the office declaring his coworkers either “impish or admirable” (for “naughty and nice”). Though Jim Halpert (John Krasinski) initially calls Belsnickel a “dirty, worse Santa,” he is the most delighted by this tradition, especially in Dwight’s own delight that “no one fears Santa the way they fear Belsnickel.”

The Christmas Chronicles 2 seems to have taken inspiration from this folklore while fitting their version of Belsnickel, an elf-turned-human, into the series’ own mythology. Instead of furs, this Belsnickel wears a lot of leather: a studded vest over a sweatshirt, and even fingerless gloves, along with a backwards baseball cap. The look says “sullen teen trying to appear tough,” but as viewers learn his backstory, they see that the supposed villain is hiding his own pain.

As established in the first movie, Santa’s Village in the North Pole is populated by chattery (CGI) elves who make billions of presents and otherwise keep things running. At first, Belsnickel was one of those elves (imagine Dennison, in his outfit, but shrunk down and computer-generated) who nursed a healthy mistrust of humans. But Santa and Mrs. Claus (Goldie Hawn) took him under their wing more so than the other elves, treating him almost as a surrogate child. Santa in particular taught Belsnickel how to go beyond making toys by inventing new treasures.

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But as Belsnickel hit his teenage years, he grew jealous of the Clauses’ care for the world’s human children, and began acting out in ways that Saint Nick would definitely call naughty. Unfortunately for elves, if they break the five-part elves’ code, they will be cursed. Once Belsnickel demonstrated envy, lying, selfishness, viciousness, and ego, he was transformed into that which he hated most: a human.

You might also recognize the New Zealand actor behind Belsnickel himself. Of Māori descent, Dennison is an increasingly familiar face, after a breakout role in Taika Waititi’s 2016 adventure-comedy Hunt for the Wilderpeople and playing Firefist in Deadpool 2 in 2018. He will next appear in Godzilla vs. Kong, expected in 2021.

Throughout The Christmas Chronicles 2, Belsnickel goes beyond the role of Santa’s foil and is his outright enemy, waging war on Christmas by trying to steal the Christmas Star that powers the entire Village. In his battles with Santa, he demonstrates his knack for invention, with one scene involving a race through the skies pitting Santa’s sleigh and reindeer against Belsnickel’s souped-up engine guided by jackalotes, or jackal/coyote hybrids.

But while Belsnickel caused chaos in Santa’s Village and endangered Christmas itself for all the world’s children, he clearly was acting out of pain and resentment, and wasn’t entirely evil. He expressed concern over Dasher, after he unleashed Jola the Yule Cat and she nearly killed the reindeer. Like many a teenager acting out, all Belsnickel really wanted was enough attention to be understood.

The final showdown is not a huge battle, but an emotional confrontation. Belsnickel explains how hurt he was, and Santa presents him with the first invention they made together: a mechanical flower that opens up to reveal a clockwork butterfly. Realizing that Santa never forgot their bond, Belsnickel is able to let go of his toxic feelings and is rewarded by being transformed back into his elfin self.

Like his namesake, The Christmas Chronicles 2’s Belsnickel represents a pre-Christmas warning to change one’s behavior before it’s too late. Just as human children would get a week or two to shift from impish to admirable before Santa’s visit, so does Belsnickel get the opportunity to redeem himself before Christmas morning.

The Christmas Chronicles 2 is streaming now on Netflix.

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INHALTSANGABE & DETAILS Um die Welt zu retten, soll Kong von seiner Insel weggebracht werden. Der Transport erfolgt übers Meer. Das Team um Nathan Lind und Ilene Andrews (Alexander Skarsgård, Rebecca Hall) benötigt dabei die Hilfe des kleinen Mädchens Jia (Kaylee Hottle). Das Waisenkind ist der einzige Mensch, dem Kong vertraut. Der Transport verläuft nicht, wie geplant: Godzilla taucht auf und der Kampf der Titanen beginnt. Im Hintergrund aber zieht eine dunkle Macht die Strippen…

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Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet an-Watch!- Jumanji: Level One — full (2020) — Movie HD Denmarkd Van Gogh, Picasso, Manet, and Monet, etc.[15]

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godzillavskongganzerfilm · 4 years ago

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Godzilla vs. Kong ist ein angekündigter Science-Fiction-Actionfilm aus dem Jahr 2021 von Adam Wingard. Es handelt sich um eine Fortsetzung von Michael Doughertys Godzilla II: King of the Monsters (2019) und basiert auf dem gleichnamigen japanischen Filmmonster der Toho-Studios. Godzilla und Kong treten gegeneinander an, um zu entscheiden, wer „The King of the Monsters“ wird.

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