Quirino Film

Posted by adminNY on March 11, 2017

Was Herod a infanticida’ part 3Numero babies muertos art “In the Middle Ages, Christian writers were speculating that killed between 3,000 and 15,000 babies. But “according to the census ordered by Governor romano Quirino, as the Gospels recount ‘the people had no idea Belen 800 inhabitants. So every year there would be no more than 20 births, and approximately 50 die before reaching two years of age (which was normal Laa infant mortality until a couple Geneva of centuries ago), so if you command Herod to kill children, should not have been more than twenty. 7 Catholic authorities to discuss the matter “It is not known until now how many children were killed, but we can make an estimate based on statistics. Henriette Regina Lotte Eisner was born on March 5, 1896 in Berlin at the heart of a wealthy Jewish family. In this same city study wall art Art History and Archeology. In 1924 he wrote his doctoral thesis on a topic that anticipates and inspiring his interest in the movie, Die Entwicklung der auf Bildkomposition Greek Vasenbildern (The development of the composition includes the Greek vases). His background includes knowledge of languages, from the classical languages to Spanish and other Romance languages.
In 1921 he met Bertolt Brecht, whose work combatitividad admire his theater and the power of language. the deep love of is the best in the area of ancient art The author the nickname “Die Eisnerin. After a stay in Rome dedicated to the study of archeology, he returned to Berlin to cultivate his love of music and arts scene, but with a certain disdain for the fledgling art of cinematography. It will be a collaborator contemporary art F.W. Murnau, Willy Haas, who entered into this creative field that starts to take its first steps. These are times of turmoil, new ideas and currents of thought and works of art, politics and art influence one another and in this whirlwind we find an ideological Lotte Eisner sing one day International and a play in 1928, after a meeting with the Russian film director Sergei Eisenstein, he decided to depart from communism.
In 1924 attended the screening of Der Letzte Mann, a marvel of cinema that is permitted the luxury of dispensing with the captions altogether, and devotes only the pejorative adjective “sentimental”. Not last long this attitude, knowledge of the intricacies of the cinematographic greek ancient universe endowed with sufficient experience modern art and evidence as to radically art prints alter his opinion on the film and, above all, its author, Murnau, whom he described as “the most great film that never took Germany “or, simply,” genius. “
In 1927 he began his activity as a writer in the Berliner Tageblatt, major newspapers of the time. Lotte Eisner’s fascination for film studies into the regular visitor of the same. Electricians, camera, actors or directors, all deserve your attention, and last but not least, the decorators. Not go unnoticed, Hans Feld, editor of Film-Kurier, the most important film magazine in those years, he managed to convince her to become the first woman film critic for Germany. It takes awareness to this “critical” that the administrator of the publication, under the pervasive tentacles of Ufa, it manages to just entrust Eisner analysis of the films that values, thus avoiding their cries for the standardization of national production.
Nothing is alien to the totalitarian threat that looms over the Old Continent. Along with intense moments and making contact with the great personalities of the show, from Fritz Lang to Josephine Baker and Louise Brooks, Lotte Eisner began to suffer attacks by the Nazi press, making Film-Kurier in its criticismof white . The representation of works of art and the premiere of films like Battleship Potemkin not go unnoticed to the extreme right groups. Shortly before that Adolf Hitler created the Gestapo, had fled by train to Paris. His first article on the French to defend his friend Fritz Lang from the ban on the tape Testament des Dr. Mabuse (The Testament of Dr. calligraphy Mabuse “).
Will be in the French capital where they witnessed the emergence of a new facet of Eisnerin die: that of conservative German film heritage. In 1936 Henri Laglois, the film director Georges Franju and Lotte Eisner decided the creation of the Cinematheque, intended to save from destruction or loss, and numerous copies of movies that, over time, will make France the owner of a magnificent archive Tape German Expressionists, the most important of the roman ancient world, along with numerous New york documents, posters and film any kind.
Lotte Eisner suffer the same fate as many Germans residing in French territory after Hitler’s rise to power and ended up in a refugee camp in the Pyrenees. She manages to escape and to stay in the country in 1942 to change its identity by Louise Helene Escoffier, false name to allow a modest dependence print art on official work of the Directorate General of Cinematografia under “inventory of movies.” museum art Henri Langlois at this time will be your most faithful friend and to hide it.

Comments are closed.