The Experiment Film Statistiken
Pazifist Travis braucht dringend Geld und nimmt an einem lukrativen Forschungsprojekt teil: 26 Männer werden für zwei Wochen in eine abgelegene Fabrikhalle gesperrt und in eine Gruppe von Gefängniswärtern und Häftlingen aufgeteilt. Doch als die. The Experiment. aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Filmdaten. Deutscher. Das Experiment ist ein deutscher Film und Psychothriller von Oliver Hirschbiegel aus dem Jahr , der auf dem Roman Das Experiment Black Box von Mario. „The Experiment“ ist das US-Remake von Oliver Hirschbiegels „Das Experiment“ aus dem Jahre , mit dem der deutsche Regisseur sein Ticket nach. The Experiment ist die US-Fassung von Das Experiment, damals mit Moritz Bleibtreu als Versuchsteilnehmer, hier mit Adrien Brody. Komplette Handlung und.
Der Film "Das Experiment" entstand unter der Regie von Oliver Hirschbiebel (Der Untergang) und wurde beim Publikum und bei den Kritikern ein großer. The Experiment ein Film von Paul Scheuring mit Adrien Brody, Forest Whitaker. Inhaltsangabe: "The Experiment" ist das Remake von Oliver Hirschbiegels "Das. The Experiment: Thriller/Kriminalfilm/Gefängnisfilm von Marty Adelstein/Jeanette Buerling mit Adrien Brody/Forest Whitaker/Fisher Stevens. Auf DVD und.
The former film is set to Felix Mendelssohn 's Hebrides Overture and was restored in by film preservation expert David Shepard.
Meshes of the Afternoon by Maya Deren and Alexander Hammid is considered by some to be one of the first important American experimental films.
It provided a model for self-financed 16 mm production and distribution, one that was soon picked up by Cinema 16 and other film societies.
Just as importantly, it established an aesthetic model of what experimental cinema could do. Meshes had a dream-like feel that hearkened to Jean Cocteau and the Surrealists, but equally seemed personal, new and American.
Pilgrim followed in a similar vein. Significantly, many of these filmmakers were the first students from the pioneering university film programs established in Los Angeles and New York.
In , Frank Stauffacher started the "Art in Cinema" series of experimental films at the San Francisco Museum of Modern Art , where Oskar Fischinger's films were featured in several special programs, influencing artists such as Jordan Belson and Harry Smith to make experimental animation.
Arthur Penn taught at Black Mountain College, which points out the popular misconception in both the art world and Hollywood that the avant-garde and the commercial never meet.
Another challenge to that misconception is the fact that late in life, after each's Hollywood careers had ended, both Nicholas Ray and King Vidor made avant-garde films.
The film society and self-financing model continued over the next two decades, but by the early s, a different outlook became perceptible in the work of American avant-garde filmmakers.
Adams Sitney has pointed out, in the work of Stan Brakhage and other American experimentalists of early period, film is used to express the individual consciousness of the maker, a cinematic equivalent of the first person in literature.
Brakhage 's Dog Star Man —64 exemplified a shift from personal confessional to abstraction, and also evidenced a rejection of American mass culture of the time.
On the other hand, Kenneth Anger added a rock sound track to his Scorpio Rising in what is sometimes said to be an anticipation of music videos , and included some camp commentary on Hollywood mythology.
Jack Smith and Andy Warhol incorporated camp elements into their work, and Sitney posited Warhol's connection to structural film.
Some avant-garde filmmakers moved further away from narrative. Whereas the New American Cinema was marked by an oblique take on narrative, one based on abstraction, camp and minimalism, Structural-Materialist filmmakers like Hollis Frampton and Michael Snow created a highly formalist cinema that foregrounded the medium itself: the frame, projection, and most importantly, time.
It has been argued that by breaking film down into bare components, they sought to create an anti-illusionist cinema, although Frampton's late works owe a huge debt to the photography of Edward Weston , Paul Strand , and others, and in fact celebrate illusion.
Further, while many filmmakers began making rather academic "structural films" following Film Culture ' s publication of an article by P.
Adams Sitney in the late s, many of the filmmakers named in the article objected to the term. A critical review of the structuralists appeared in a edition of the art journal Art in America.
It examined structural-formalism as a conservative philosophy of filmmaking. Conceptual art in the s pushed even further.
Robert Smithson , a California-based artist, made several films about his earthworks and attached projects. Yoko Ono made conceptual films, the most notorious of which is Rape, which finds a woman and invades her life with cameras following her back to her apartment as she flees from the invasion.
Around this time a new generation was entering the field, many of whom were students of the early avant-gardists. Leslie Thornton, Peggy Ahwesh , and Su Friedrich expanded upon the work of the structuralists, incorporating a broader range of content while maintaining a self-reflexive form.
Andy Warhol , the man behind Pop Art and a variety of other oral and art forms, made over 60 films throughout the s, most of them experimental.
In more recent years, filmmakers such as Craig Baldwin and James O'Brien Hyperfutura have made use of stock footage married to live action narratives in a form of mash-up cinema that has strong socio-political undertones.
Laura Mulvey 's writing and filmmaking launched a flourishing of feminist filmmaking based on the idea that conventional Hollywood narrative reinforced gender norms and a patriarchal gaze.
Their response was to resist narrative in a way to show its fissures and inconsistencies. Chantal Akerman and Sally Potter are just two of the leading feminist filmmakers working in this mode in the s.
Video art emerged as a medium in this period, and feminists like Martha Rosler and Cecelia Condit took full advantage of it.
In the s feminist, gay and other political experimental work continued, with filmmakers like Barbara Hammer , Su Friedrich , Tracey Moffatt , Sadie Benning and Isaac Julien among others finding experimental format conducive to their questions about identity politics.
The queercore movement gave rise to a number experimental queer filmmakers such as G. Jones a founder of the movement in the s and later Scott Treleaven , among others.
With very few exceptions, Curtis Harrington among them, the artists involved in these early movements remained outside the mainstream commercial cinema and entertainment industry.
Many of the practitioners of experimental film do not in fact possess college degrees themselves, although their showings are prestigious.
Some have questioned the status of the films made in the academy, but longtime film professors such as Stan Brakhage , Ken Jacobs , Ernie Gehr , and many others, continued to refine and expand their practice while teaching.
The inclusion of experimental film in film courses and standard film histories, however, has made the work more widely known and more accessible.
It permits the discovery of American avant-garde in with Brakhage's films and many others European and American filmmakers. From to , the New York-based Cinema 16 functioned as the primary exhibitor and distributor of experimental film in the United States.
Under the leadership of Amos Vogel and Marcia Vogel, Cinema 16 flourished as a nonprofit membership society committed to the exhibition of documentary, avant-garde, scientific, educational, and performance films to ever-increasing audiences.
Following the model of Cinema 16, experimental films have been exhibited mainly outside of commercial theaters in small film societies , microcinemas , museums , art galleries , archives and film festivals.
Several other organizations in both Europe and North America helped develop experimental film. But soon quarrels arise and the wardens employ ever more drastic sanctions to confirm their authority.
I saw this film recently on the Sundance Channel. I could not stop watching. After seeing the prison pictures from Iraq, the film fully explored the reasons for the abuse of prisoners.
When I read some of the reviews posted, I noticed how many dismissed the film as contrived and not plausible. I wonder if any of those reviewers would like to modify their dismissal of Das Experiment.
Human behavior under stress often declines to the lowest common instinct. It reminded me of an adult Lord of the Flies.
Degradation and humiliation seems to exactly follow what happened in Iraq. As a veteran who spent most of time working on Military Mental wards, I witnessed a number of abuses, as force had to be used patients were acting out or lost control, but all those memories seem pale compared to the horrors of the Iraq prison camps.
Since life imitates art, this makes the film even more profound. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew.
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Crazy Credits. Alternate Versions. Rate This. R 2h Drama , Thriller 21 May France. For two weeks, 20 male participants are hired to play prisoners and guards in a prison.
The "prisoners" have to follow seemingly mild rules, and the "guards" are told to retain order without using physical violence.
Director: Oliver Hirschbiegel. Available on Amazon. Added to Watchlist. From metacritic. What's New on Prime Video in June.
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Edit Cast Cast overview, first billed only: Moritz Bleibtreu Tarek Fahd Nr. Robert Steinhoff Nr. Günther Schütte Nr. Joe Maier Nr.
Häftling Nr. Dersch Sven Grefer Kamps Timo Dierkes Learn more More Like This. The Wave Drama Thriller.