#stefan eissler

[blog-bluesky-fan]

Hier ist die Solidarität der #AfD gefordert: Klage einreichen und die Verantwortlichen ermitteln! Das geht gar nicht! Plakate mit der Aufforderung "Bürger entsorgen" und "Bomber Harris, do it again" bleiben folgenlos, wie auch der Verfassungsbruch durch Merkel.

Die #AfD hat doch den "mutigsten Staatsanwalt Deutschlands" in ihren Reihen, der sogar im Parlamentarischen Kontrollgremium sitzt - der muss hier einschreiten!

Ähnlich geht man ja auch gegen unbescholtene Umweltschützer vor, die man eben mal locker bundesweit zu Nazis und mögliche Terroristen stempelt. DDR2.0 MUSS verhindert werden! Keine Steuergelder für die #AAS!

https://www.bild.de/news/vermischtes/talkshow-verbot-3409938.bild.html

[f33dbackworks-blog]

Reynold Reynolds (US, 1966) - Die Verlorenen

HD video transferred from 16mm 80 min. 2015/1933

with live musical accompaniment by Gerard Bouwhuis (piano), Heleen Hulst (violin and Foley) and Jellantsje de Vries (viola and Foley)

A film project started in the 1930s, but unfinished. Newly discovered, remade, completed and performed.

During the year 1933 in Germany film productions were shut down, censorship was imposed, thousands of actors were fired and hundreds of films were destroyed.

Die Verlorenen revives a German film from the 1930s that could have been, but never was.

The film tells the story of a young British writer, Christopher, who comes to Berlin and moves into the Troika, a cabaret where an eccentric old man adopts young performers, artists and musicians. In the basement Christopher bears witness to mystical experiments investigating the boundary between life and death discovering his own identity. Against this backdrop of creative experimentation the cabaret is under threat from growing political conservatism.

The film material was assembled by Reynold Reynolds and is screened with a live musical score arranged and performed by Gerard Bouwhuis (piano), Heleen Hulst (violin) and Jellantsje de Vries (viola). Both Heleen Hulst and Jellantsje de Vries will additionally perform as Foley artists with the film; creating sound effects within the boundaries of the soundscape of the musical score.

The score has been based on musical fragments from the early 1920s and 1930s by composers such as Franz Schreker, George Antheil, Erwin Schulhoff, Stefan Wolpe, Paul Hindemith and Hans Eissler.