造物的奇迹

造物的奇迹 (1925)

Wunder der Schöpfung
导演: Hanns Walter Kornblum
主演: Margarete Schön / Theodor Loos / Paul Bildt / Margarethe Schlegel / Oscar Marion / Willy Kaiser-Heyl
类型: 科幻,纪录片
地区: 德国
片长: 92分钟
豆瓣: 4196461
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《造物的奇迹》(Wunder der Schöpfung)作为1925年德国文化电影的巅峰,是一场融合科学启蒙与视觉实验的宏大奇观。其制作集结了大量特效师、摄像师与工匠,通过精细上色、模型构建与早期动画,打造出一艘穿越银河的宇宙飞船,引领观众遍历行星,展现了1920年代人类对宇宙的想象蓝图。叙事以教育为名,却逐渐演变为一场充满幽默、甚至荒诞色彩的“世界末日”视觉漫游,其蒙太奇剪辑与舞台化表演削弱了主线,强化了媒介本身的自反性与展示性。影片既非传统剧情片,也非纯粹纪录片,而是一部充满科学认知母题、媒介自反意识及早期科幻视觉先驱性的实验作品,它预演了后世太空歌剧的视觉语法,也折射出魏玛时期德国对科学进步的复杂态度。该片适合喜欢早期科幻、科学史、实验电影及德国表现主义视觉的观众。

剧情简介

Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001: A Space Odyssey. In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed. The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.

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