{"id":65979,"date":"2017-10-27T00:03:55","date_gmt":"2017-10-26T22:03:55","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=65979"},"modified":"2024-05-24T13:58:58","modified_gmt":"2024-05-24T11:58:58","slug":"fritz-lang-nueva-york-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/fritz-lang-nueva-york-jorge-gorostiza\/","title":{"rendered":"[:es]Fritz Lang y Nueva York | Jorge Gorostiza[:gl]Fritz Lang e Nova Iork | Jorge Gorostiza[:en]Fritz Lang and New York | Jorge Gorostiza[:]"},"content":{"rendered":"

[:es]

\"Fotograf\u00eda
Fotograf\u00eda de Fritz Lang, publicada en el libro\u00a0Amerika: Bilderbucheines Architekten, (1926) escrito por Erich Mendelsohn.<\/span><\/figcaption><\/figure><\/p>\n

El domingo 12 de octubre de 1924, el trasatl\u00e1ntico alem\u00e1n\u00a0Deutschland<\/a>\u00a0atrac\u00f3 en un muelle del West Side de Manhattan, entre sus pasajeros estaban el arquitecto\u00a0Erich Mendelsohn<\/a>\u00a0y los cineastas\u00a0Erich Pommer<\/a>\u00a0y\u00a0Fritz Lang<\/a>, al parecer, este \u00faltimo anot\u00f3 en su diario que hab\u00eda visto<\/p>\n

\n

\u00abuna calle, iluminada, como si fuese de d\u00eda, por neones, todos ellos agresivos, cambiando constantemente, encendi\u00e9ndose y apag\u00e1ndose, espirales gigantes, inmensos r\u00f3tulos publicitarios\u00bb.<\/p>\n<\/blockquote>\n

A\u00f1os despu\u00e9s, Lang<\/a> reflexionaba sobre esta visi\u00f3n:<\/p>\n

\n

\u00abtodo ello, entonces, era completamente nuevo y casi m\u00e1gico para el visitante europeo. La impresi\u00f3n que me hizo me dio una primera intuici\u00f3n de la ciudad futura\u00bb<\/p>\n<\/blockquote>\n

y adem\u00e1s escribi\u00f3:<\/p>\n

\n

\u00ablos rascacielos casi parec\u00edan no tener gravedad, como una gran capa lujosa que cuelga del cielo para deslumbrarnos, para turbarnos, para hipnotizarnos. De noche la ciudad ten\u00eda una impresi\u00f3n de vida irreal; viv\u00eda como viven las ilusiones\u00bb.<\/p>\n<\/blockquote>\n

Las fotograf\u00edas que tom\u00f3 muestran una ciudad iluminada, un efecto que adem\u00e1s multiplic\u00f3 al realizar dobles exposiciones, y confes\u00f3:<\/p>\n

\n

\u00abla vista de Nueva York de noche es un faro de belleza suficientemente vigoroso para ser la atracci\u00f3n principal de una pel\u00edcula\u2026 Hay destellos de rojo y azul y blanco reluciente, verde chill\u00f3n\u2026 calles llenas de luces m\u00f3viles, cambiantes, espirales, y en lo alto sobre los coches y trenes elevados, los rascacielos aparecen en azul y oro, blanco y p\u00farpura, y todav\u00eda m\u00e1s altos hay anuncios eclipsando a las estrellas con su luz\u00bb<\/p>\n<\/blockquote>\n

y mucho tiempo despu\u00e9s Lang declar\u00f3:<\/p>\n

\n

\u00aball\u00ed conceb\u00ed\u00a0Metr\u00f3polis<\/i><\/a>\u00bb.<\/p>\n<\/blockquote>\n

En el folleto de un DVD de\u00a0Metr\u00f3polis<\/i>, editado por\u00a0la\u00a0fundaci\u00f3n arquia<\/a>, escrib\u00ed sobre las impresiones de Lang que<\/p>\n

\n

\u00abuna ciudad contempor\u00e1nea, aunque desconocida para \u00e9l, le asombra tanto que imagina la gran urbe del porvenir. El europeo cae fascinado ante Nueva York, como le pod\u00eda haber sucedido a un ind\u00edgena africano ante al Berl\u00edn donde por aquel entonces viv\u00eda Lang\u00bb<\/p>\n<\/blockquote>\n

y desde entonces ten\u00eda claro que realmente,<\/p>\n

\n

\u00absi Fritz Lang concibi\u00f3 algo en Nueva York fue el aspecto que habr\u00eda de tener la ciudad de su pr\u00f3xima pel\u00edcula, ya que en junio de 1924 \u00e9l y su esposa,\u00a0Thea Von Harbou<\/a>, ya hab\u00edan terminado el\u00a0gui\u00f3n<\/a>\u00a0de\u00a0Metr\u00f3polis<\/i>\u00bb.<\/p>\n<\/blockquote>\n

Gracias a\u00a0Patrick MacGiligan<\/a>\u00a0y su libro\u00a0Fritz Lang: The Nature of the Beast<\/a><\/i>, se sabe que Lang era, por decirlo sin herir susceptibilidades, un fantasioso y que, por ejemplo, la famosa aventura de su apresurada huida de la Alemania nazi, tras entrevistarse con\u00a0Goebbels<\/a>, es completamente falsa. Teniendo esto en cuenta cabr\u00eda preguntarse si tambi\u00e9n ser\u00eda falsa su afirmaci\u00f3n de que concibi\u00f3\u00a0Metr\u00f3polis<\/a><\/i>\u00a0cuando contempl\u00f3 Nueva York.<\/p>\n

En las revistas estadounidenses de la \u00e9poca dedicadas al cine, se publicaron bastantes noticias sobre el viaje de Lang y\u00a0Erich Pommer<\/a>. El \u00fanico indicio que se ha encontrado por ahora, es una columna que se public\u00f3 en la primera p\u00e1gina del\u00a0Film Daily<\/i>\u00a0el 14 de octubre, en la que se dice que<\/p>\n

\n

\u00abLang esta todav\u00eda tremendamente impresionado con Nueva York. Su barco atrac\u00f3 por la noche, permiti\u00e9ndole una vista de la ciudad desde el puerto. El recuerdo todav\u00eda persiste. Su nueva pel\u00edcula ser\u00e1 \u00abLa metr\u00f3polis\u00bb [sic] y por eso est\u00e1 ansioso por tener a Nueva York como fondo\u00bb.<\/p>\n<\/blockquote>\n

Esta nota no puede justificar lo dicho por Lang, sobre todo, porque su afirmaci\u00f3n es muy subjetiva, pero s\u00ed hace pensar que desde entonces el director estaba creando otra leyenda que ha trascendido.<\/p>\n

Un \u00faltimo apunte. En todo esta \u00abconcepci\u00f3n arquitect\u00f3nica\u00bb de\u00a0Metr\u00f3polis<\/i>\u00a0se olvida a su creador real -o al menos uno de ellos con\u00a0Otto Hunte<\/a>\u00a0y\u00a0Karl Vollbrecht<\/a>-,\u00a0al estupendo escen\u00f3grafo cinematogr\u00e1fico Erich Kettelhut<\/a>, cuyos\u00a0dibujos<\/a>\u00a0han sobrevivido y pod\u00edan verse en el\u00a0Filmmuseum Berlin<\/a>, aunque tambi\u00e9n cab\u00eda preguntarse si los hizo antes del rodaje de la pel\u00edcula o despu\u00e9s, lo que es completamente esencial para valorar su importancia en el aspecto visual de\u00a0Metr\u00f3polis<\/a><\/i>.<\/p>\n

Jorge Gorostiza, Doctor arquitecto.\u00a0Autor del blog\u00a0Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife,\u00a0septiembre 2017<\/p>\n

[:gl]

\"Fotograf\u00eda
Fotograf\u00eda de Fritz Lang, publicada\u00a0no libro\u00a0Amerika: Bilderbucheines Architekten, (1926) escrito por Erich Mendelsohn.<\/span><\/figcaption><\/figure><\/p>\n

O domingo 12 de outubro de 1924, o transatl\u00e1ntico alem\u00e1n Deutschland<\/a> atracou nun peirao do West Side de Manhattan, entre os seus pasaxeiros estaban o arquitecto Erich Mendelsohn<\/a> e os cineastas Erich Pommer<\/a> e Fritz Lang<\/a>, ao parecer, este \u00faltimo anotou no seu diario que vira<\/p>\n

\n

\u00abunha r\u00faa, iluminada, coma se fose de d\u00eda, por neones, todos eles agresivos, cambiando constantemente, acend\u00e9ndose e apag\u00e1ndose, espirais xigantes, inmensos r\u00f3tulos publicitarios\u00bb.<\/p>\n<\/blockquote>\n

Anos despois, Langre <\/a>flexionaba sobre esta visi\u00f3n:<\/p>\n

\n

\u00abtodo iso, ent\u00f3n, era completamente novo e case m\u00e1xico para o visitante europeo. A impresi\u00f3n que me fixo deume unha primeira intuici\u00f3n da cidade futura\u00bb<\/p>\n<\/blockquote>\n

e ademais escribiu:<\/p>\n

\n

\u00abos ra\u00f1aceos case parec\u00edan non ter gravidade, como unha gran capa luxosa que colga do ceo para cegarnos, para turbarnos, para hipnotizarnos. De noite a cidade ti\u00f1a unha impresi\u00f3n de vida irreal; viv\u00eda como viven as ilusi\u00f3ns\u00bb.<\/p>\n<\/blockquote>\n

As fotograf\u00edas que tomou mostran unha cidade iluminada, un efecto que ademais multiplicou ao realizar dobres exposici\u00f3ns, e confesou:<\/p>\n

\n

\u00aba vista de Nova York de noite \u00e9 un faro de beleza suficientemente vigoroso para ser a atracci\u00f3n principal dunha pel\u00edcula.. Hai escintileos de vermello e azul e branco relucente, verde chill\u00f3n… r\u00faas cheas de luces m\u00f3biles, cambiantes, espirais, e no alto sobre os coches e trens elevados, os ra\u00f1aceos aparecen en azul e ouro, branco e p\u00farpura, e a\u00ednda m\u00e1is altos hai anuncios eclipsando \u00e1s estrelas coa s\u00faa luz\u00bb<\/p>\n<\/blockquote>\n

e moito tempo despois Lang declarou:<\/p>\n

\n

\u00abal\u00ed conceb\u00edn\u00a0Metr\u00f3polis<\/i><\/a>\u00bb.<\/p>\n<\/blockquote>\n

No folleto dun DVD de Metr\u00f3polis<\/i>, editado pola\u00a0fundaci\u00f3n arquia<\/a>, escrib\u00edn sobre as impresi\u00f3ns de Lang que<\/p>\n

\n

\u00abunha cidade contempor\u00e1nea, a\u00ednda que desco\u00f1ecida para el, as\u00f3mbralle tanto que imaxina a gran urbe do porvir. O europeo cae fascinado ante Nova York, como lle pod\u00eda suceder a un ind\u00edxena africano ante ao Berl\u00edn onde por aquel ent\u00f3n viv\u00eda Lang\u00bb<\/p>\n<\/blockquote>\n

e desde ent\u00f3n ti\u00f1a claro que realmente,<\/p>\n

\n

\u00abse Fritz Lang concibiu algo en Nova York foi o aspecto que haber\u00eda de ter a cidade da s\u00faa pr\u00f3xima pel\u00edcula, xa que en xu\u00f1o de 1924 el e a s\u00faa esposa, Thea Von Harbou<\/a>, xa terminaran o gui\u00f3n<\/a> de Metr\u00f3poles\u00bb.<\/p>\n<\/blockquote>\n

Grazas a Patrick MacGiligan<\/a> e o seu libro Fritz Lang: The Nature of the Beast<\/a><\/i>, s\u00e1bese que Lang era, por dicilo sen ferir susceptibilidades, un fantasioso e que, por exemplo, a famosa aventura da s\u00faa apresurada fuxida da Alema\u00f1a nazi, tras entrevistarse con Goebbels<\/a>,\u00a0 \u00e9 completamente falsa. Tendo isto en conta caber\u00eda preguntarse se tam\u00e9n ser\u00eda falsa a s\u00faa afirmaci\u00f3n de que concibiu Metr\u00f3polis<\/a><\/i> cando contemplou Nova York.<\/p>\n

Nas revistas estadounidenses da \u00e9poca dedicadas ao cinema, public\u00e1ronse bastantes noticias sobre a viaxe de Lang e Erich Pommer<\/a>. O \u00fanico indicio que se atopou por agora, \u00e9 unha columna que se publicou na primeira p\u00e1xina do Filme Daily<\/em> o 14 de outubro, na que se di que<\/p>\n

\n

\u00abLang esta a\u00ednda tremendamente impresionado con Nova York. O seu barco atracou pola noite, permit\u00edndolle unha vista da cidade desde o porto. O recordo a\u00ednda persiste. A s\u00faa nova pel\u00edcula ser\u00e1 \u00abA metr\u00f3poles\u00bb [sic] e por iso est\u00e1 ansioso por ter a Nova York como fondo\u00bb.<\/p>\n<\/blockquote>\n

Esta nota non pode xustificar o devandito por Lang, sobre todo, porque a s\u00faa afirmaci\u00f3n \u00e9 moi subxectiva, pero si fai pensar que desde ent\u00f3n o director estaba a crear outra lenda que transcendeu.<\/p>\n

Un \u00faltimo apuntamento. En todo esta \u00abconcepci\u00f3n arquitect\u00f3nica\u00bb de Metr\u00f3polis<\/i> esqu\u00e9cese ao seu creador real -ou polo menos un deles con Otto Hunte<\/a>\u00a0e\u00a0Karl Vollbrecht<\/a>-,, ao estupendo escen\u00f3grafo cinematogr\u00e1fico Erich Kettelhut, cuxos debuxos<\/a> sobreviviron e pod\u00edan verse no Filmmuseum Berlin<\/a>, a\u00ednda que tam\u00e9n cab\u00eda preguntarse se os fixo antes da rodaxe da pel\u00edcula ou despois, o que \u00e9 completamente esencial para valorar a s\u00faa importancia no aspecto visual de Metr\u00f3polis<\/a><\/i>.<\/p>\n

Jorge Gorostiza, Doutor arquitecto.\u00a0Autor do blogue\u00a0Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife,\u00a0setembro 2017<\/p>\n

[:en]

\"Fotograf\u00eda
Fritz Lang’s photography, published in the book Amerika: Bilderbucheines Architekten, (1926) written by Erich Mendelsohn.<\/span><\/figcaption><\/figure><\/p>\n

On Sunday, the 12th of October, 1924, the Deutschland<\/a>\u00a0German transatlantic moored in a wharf of the West Side of Manhattan, between his passengers they were the Erich Mendelsohn<\/a>\u00a0architect and the filmmakers Erich Pommer<\/a>\u00a0and\u00a0Fritz Lang<\/a>,\u00a0, apparently, it annotated the latter in his diary that it had seen<\/p>\n

\n

\u00aba\u00a0street, illuminated, as if it was by day, for neons, all of them aggressive, changing constant, igniting and going out, giant spirals, immense advertising labels\u00bb.<\/p>\n<\/blockquote>\n

Some years later, Lang<\/a> was thinking about this vision:<\/p>\n

\n

\u00aball this, then, was completely new and almost magic for the European visitor. The impression that made me gave to me the first intuition of the future city\u00bb<\/p>\n<\/blockquote>\n

And in addition he wrote:<\/p>\n

\n

\u00abthe skyscrapers almost seemed not to have gravity, as a great luxurious cap that hangs of the sky to dazzle ourselves, to get embarrassed, to hypnotize ourselves. By night the city had an impression of unreal life; it was living since the illusions live\u00bb.<\/p>\n<\/blockquote>\n

The photographies that it took show an illuminated city, an effect that in addition it multiplied on having realized double exhibitions, and he confessed:<\/p>\n

\n

\u00abthe sight of New York by night is a sufficiently vigorous beacon of beauty to be the principal attraction of a movie\u2026 There are sparkles of red and blue and shining white, green shrillly\u2026 streets full of mobile, changeable lights, spirals, and in the high thing on the cars and high trains, the skyscrapers appear in blue and gold, white and purple, and even higher there are announcements eclipsing to the stars with his light\u00bb<\/p>\n<\/blockquote>\n

And a lot of time later Lang declared:<\/p>\n

\n

\u00abthere I conceived\u00a0 Metropolis<\/i><\/a>\u00bb.<\/p>\n<\/blockquote>\n

In the leaflet of a DVD of Metropolis<\/em>, edited by the arquia<\/a>\u00a0foundation, I wrote on Lang’s impressions that<\/p>\n

\n

\u00aba\u00a0contemporary city, though stranger for him, amazes him so much that imagines the great city of the future. The European falls down fascinated before New York, since it could to an African aborigen have happened before to the Berlin where in those days Lang was living\u00bb<\/p>\n<\/blockquote>\n

and since then it had clear that really,<\/p>\n

\n

\u00abIf Fritz Lang conceived something in New York was the aspect that should have the city of his next movie, since in June, 1924 he and his wife, Thea Von Harbou<\/a>, already had finished the script<\/a> of\u00a0Metropolis<\/i>\u00bb.<\/p>\n<\/blockquote>\n

Thanks to Patrick MacGiligan<\/a> and his book Fritz Lang: The Nature of the Beast<\/a><\/i>, knows that Lang was, for saying it without hurting susceptibilities, the prone to fantasizing one and that, for example, the famous adventure of his hurried flight of the Germany Nazi, after meeting Goebbels<\/a>, is completely false. Having this in goatish account to wonder if also there would be false his affirmation of which he conceived Metropolis<\/a><\/i> when he contemplated New York.<\/p>\n

In the American magazines of the epoch dedicated to the cinema, enough news was published on the trip of Lang and Erich Pommer<\/a>.\u00a0 The only indication that one has found for the present, is a column that was published in the first page of the Film Daily<\/em> on October 14, in that is said that<\/p>\n

En las revistas estadounidenses de la \u00e9poca dedicadas al cine, se publicaron bastantes noticias sobre el viaje de Lang y\u00a0Erich Pommer<\/a>. El \u00fanico indicio que se ha encontrado por ahora, es una columna que se public\u00f3 en la primera p\u00e1gina del\u00a0Film Daily<\/i>\u00a0el 14 de octubre, en la que se dice que<\/p>\n

\n

\u00abThis Lang still tremendously impressed with New York. His ship moored in the night, allowing him a sight of the city from the port. The recollection still persists. His new movie will be \u00abThe metropolis\u00bb [sic] and because of it it is eager to take New York as a bottom\u00bb.<\/p>\n<\/blockquote>\n

This note cannot justify said by Lang, especially, because his affirmation is very subjective, but yes it makes think that since then the director was creating another legend that has come out.<\/p>\n

A last note. In quite this \u00bb architectural conception \u00bb of Metropolis one forgets his royal creator – or at least one of them with Otto Hunte<\/a>\u00a0and\u00a0Karl Vollbrecht<\/a>-, to the marvellous cinematographic set designer Erich Kettelhut<\/a>, whose drawings<\/a> have survived and they could turn in the Filmmuseum Berlin<\/a>, though also it was necessary to ask him if it did them before the filming of the movie or later, which is completely essential to value his importance for the visual aspect of Metr\u00f3polis<\/a><\/i>.<\/p>\n

Jorge Gorostiza, PhD\u00a0architect.\u00a0Author\u00a0of the blog\u00a0Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife,\u00a0september 2017<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] El domingo 12 de octubre de 1924, el trasatl\u00e1ntico alem\u00e1n\u00a0Deutschland\u00a0atrac\u00f3 en un muelle del West Side de Manhattan, entre sus pasajeros estaban el arquitecto\u00a0Erich Mendelsohn\u00a0y los cineastas\u00a0Erich Pommer\u00a0y\u00a0Fritz Lang, al parecer, este \u00faltimo anot\u00f3 en su diario que hab\u00eda visto \u00abuna calle, iluminada, como si fuese de d\u00eda, por neones, todos ellos agresivos, cambiando […]<\/p>\n","protected":false},"author":34,"featured_media":65980,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,3,1460,5951],"tags":[11214,12448,12471,318,9520,6942,13134,5139,13132,12460,668,1593,930,13133],"class_list":["post-65979","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arte-blog","category-capturas","category-cine","category-slider-principal","tag-alfred-joseph-hitchcock","tag-arquitectura","tag-cine","tag-ciudad","tag-ciudad-alegorica","tag-ciudad-historica","tag-erich-karl-heinrich-kettelhut","tag-erich-mendelsohn","tag-erich-pommer","tag-fotografia","tag-historia","tag-jorge-gorostiza","tag-new-york","tag-patrick-mcgilligan"],"yoast_head":"\n[:es]Fritz Lang y Nueva York | Jorge Gorostiza[:gl]Fritz Lang e Nova Iork | Jorge Gorostiza[:en]Fritz Lang and New York | Jorge Gorostiza[:] - 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