ruttmann造句

• The tunes in Twinworld were composed by Haiko Ruttmann.
• Ruttmann was a prominent exponent of both avant-garde art and music.
• Ruttmann licensed a Wax Slicing machine from Oskar Fischinger to create special effects for Lotte Reiniger.
• Notable visual music filmmakers include : Walter Ruttmann, James Whitney, and many others up to present day.
• This film represented a sort of break from Ruttmann's earlier " Absolute films " which were abstract.
• Impressionist documentary Berlin : Symphony of a Great City, directed by Walter Ruttmann, is a prominent example of the city symphony genre.
• Mayer also co-wrote " Berlin : Symphony of a Metropolis " ( 1927 ) with Karl Freund and Walter Ruttmann.
• Several famous avant-garde animators worked on this film with Lotte Reiniger, among them Walter Ruttmann, Berthold Bartosch, and Carl Koch.
• He made photo collages as a camera assistant for the 1927 film by Walter Ruttmann called " Berlin : Symphony of a Metropolis ".
• Animators and directors of experimental films such as; Lotte Reiniger, Oskar Fischinger and Walter Ruttmann, were also very active in Germany in the 1920s.
• In 1934, Riefenstahl had no wish to repeat the fiasco of " Der Sieg des Glaubens " and initially recommended fellow director Walter Ruttmann.
• These were interspersed with advertising films ( the Julius Pinschewer advertising agency innovated ad films and sponsored a large number of abstract animators during the Hans Richter, Walter Ruttmann and Oskar Fischinger.
• His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand L間er, whose work he discovered while living in Europe.
• He wrote the score to Walter Ruttmann's " Berlin : Symphony of a Metropolis " ( 1927 ), " The Battleship Potemkin " ( 1925 ), and other films of Sergei Eisenstein.
• Oliveira was influenced by German filmmaker Walther Ruttmann's documentary " Berlin : Symphony of a City ", and " Douro, Faina Fluvial " was made in the same genre of city symphony films.
• Recordings could be spliced together to create sound collages, such as those by Tristan Tzara, Kurt Schwitters, Filippo Tommaso Marinetti, Walter Ruttmann and Dziga Vertov . Further, the technology allowed sound to be graphically created and modified.
• In addition to Reiniger's silhouette actors, " Prince Achmed " boasted dream-like backgrounds by Walter Ruttmann ( her partner in the " Die Nibelungen " sequence ) and a symphonic score by Wolfgang Zeller.
• Ruttmann's film, which would have covered the rise of the Nazi Party from 1923 to 1934 and been more overtly propagandistic ( the opening text of " Triumph of the Will " was his ), did not appeal to Hitler.
• The first documented instance of sound collage created by electronic means is the piece " Wochenende " ( in English, " Weekend " ), a collage of words, music and sounds created by film-maker and media artist Walter Ruttmann in 1928.
• Riefenstahl said that when Hitler proposed that she direct " Triumph of the Will, " she didn't want to take on such a large task _ " I wanted to act " _ and strongly suggested another filmmaker for the job, Walter Ruttmann.