Metropolis reseen

[Rotwang]

Not since the premiere in 1927 did we get a chance to see Metropolis in its entirety.

For fans of the robot, drool on this :

[Keizo]

So you have seen the restored film in it's entirety? Do you have a copy or know if it's available for purchase yet? Please let us know any details you are willing to share!

[Rotwang]

Yes, it was broadcast on TV over here

The DVD/BD release will be December 2010.

You can find a copy online if know where to look ...

[WilloWisp]

So, since Metropolis is completely in the public domain - even the newly found footage - this should be completely legal to redistribute, right?

[dale coba]

The American copyright had lapsed in 1953, which eventually led to a proliferation of versions being released on video. Along with other foreign-made works, the film's U.S. copyright was restored in 1998.[12] The constitutionality of this copyright extension was challenged in Golan v. Gonzales.

F.W. Murnau Foundation (which now owns the film's copyright where applicable) and Kino International (now the film's American distributor) released a digitally restored version of 3378 metres (which equals a running time of 124 minutes at 24 frames/s) in 2002, supervised by Martin Koerber. It included the original music score and title cards describing the action in the missing sequences. Lost clips were gleaned from museums and archives around the world, and computers were used to digitally clean each frame and repair minor defects. The original score was re-recorded with an orchestral ensemble. Many scenes had still not been recovered at that point and were considered lost. Among the missing scenes are the adventures of 11811, a worker who trades places with Freder; the Thin Man spying on Josephat; Maria's incarceration; Rotwang's gloating and her subsequent escape; and scenes which establish the longstanding rivalry between Johann Fredersen and Rotwang.

Copy-rite is old bollox. InformatioNation wants to be free.
Who would stop the encoding and copying of petabytes, from router to iPad to dashboard and brain implant?

- because Law and Technology have been sooooo successful at ceasing the inexorable progression.

Bottom line seems to be, piracy without profit may not be disincentivized in a free society.
Social network, p2p-sharing of video mash-up collages using commercial film and tv will be the norm
for Generation... what are we up to, A? B?

Maybe you persecute it, may-y-y-be you slow it, maybe you deny yourself the fruits of Piracy.

Time marches on, Kurzweil knows.
Whatever will the Singularity make of the Rights of Copy?

If I knew C, I'd wittily encode

"We hold these statements to be self-evident,
that all bits are created equal,
that they are endowed by their hardware with certain indeletible Rights,
that among these are Life, Liberty
and the pursuit of Ubiquity."

- Dale Coba
(born mid -X)

[Rotwang]

The American copyright had lapsed in 1953, which eventually led to a proliferation of versions being released on video. Along with other foreign-made works, the film's U.S. copyright was restored in 1998.[12] The constitutionality of this copyright extension was challenged in Golan v. Gonzales.

F.W. Murnau Foundation (which now owns the film's copyright where applicable) and Kino International (now the film's American distributor) released a digitally restored version of 3378 metres (which equals a running time of 124 minutes at 24 frames/s) in 2002, supervised by Martin Koerber. It included the original music score and title cards describing the action in the missing sequences. Lost clips were gleaned from museums and archives around the world, and computers were used to digitally clean each frame and repair minor defects. The original score was re-recorded with an orchestral ensemble. Many scenes had still not been recovered at that point and were considered lost. Among the missing scenes are the adventures of 11811, a worker who trades places with Freder; the Thin Man spying on Josephat; Maria's incarceration; Rotwang's gloating and her subsequent escape; and scenes which establish the longstanding rivalry between Johann Fredersen and Rotwang.

Copy-rite is old bollox. InformatioNation wants to be free.
Who would stop the encoding and copying of petabytes, from router to iPad to dashboard and brain implant?

- because Law and Technology have been sooooo successful at ceasing the inexorable progression.

Bottom line seems to be, piracy without profit may not be disincentivized in a free society.
Social network, p2p-sharing of video mash-up collages using commercial film and tv will be the norm
for Generation... what are we up to, A? B?

Maybe you persecute it, may-y-y-be you slow it, maybe you deny yourself the fruits of Piracy.

Time marches on, Kurzweil knows.
Whatever will the Singularity make of the Rights of Copy?

If I knew C, I'd wittily encode

"We hold these statements to be self-evident,
that all bits are created equal,
that they are endowed by their hardware with certain indeletible Rights,
that among these are Life, Liberty
and the pursuit of Ubiquity."

- Dale Coba
(born mid -X)

How very 1994 ... Please come out of the dot-com bubble, it burst years ago.

Nothing on the internet is free, you pay the price in other ways.

Every action you take on the internet has an opposite reaction. Everything is logged and catalogued. Anybody who wants to push hard enough will get your internet use records and know exactly what you did. Match up the names and find your location.

Copyright is there to protect your creation and make sure nobody else can claim it and profit from it. Art for art's sake is very noble the the picture of the starving artist is the ultimate romantic image.

To deny that is a thoughtcrime friend citizen ...

Metropolis not in the public domain. The reconstruction is the culmination of many years of hard work and research. If you feel you owe them nothing then the restoration of other films ends there, the preservation of films ends there and let's watch the world go to hell.

[WilloWisp]

Metropolis not in the public domain. The reconstruction is the culmination of many years of hard work and research. If you feel you owe them nothing then the restoration of other films ends there, the preservation of films ends there and let's watch the world go to hell.

It is in the United States. There was an attempt to restore the copyright in 1998, but Golan Vs. Holder held that this attempt was invalid. The missing footage is not a new creation. It was published at the same time as the rest of the footage, which is currently public domain.

A copyright could be claimed on the score (if newly or recently created), the digital restoration of the individual frames (if visually distinguishable from the workprint to the average judge), the editing of the individual scenes (a "cut" of the film so to speak), or any digital watermarking inserted into the footage - but the unaltered footage itself is public domain in much of the world.

[dale coba]

Metropolis not in the public domain. The reconstruction is the culmination of many years of hard work and research. If you feel you owe them nothing then the restoration of other films ends there, the preservation of films ends there and let's watch the world go to hell.

Rotwang, I know I'm embodying, heroicizing this reading - because I still can't see your vision winning, or even stemming the tide. You believe that the combined ethical actions of many, many, many individuals will add up to the desired ethical result. If persuasion could influence the trend, we would have seen it by now.

This problem is better likened to terrorism, in specific respect to the asymmetrical goals of copyright owners vs. pirates and non-paying consumers.

If we care about creators, we must find the new business models for them to prosper. No one made movie re-run money, before beta and laserdisc. Some acts make their money performing.

It's not fair, but game theory and internet history, as I read them, suggest that technology screws everything about the old ways of financing, production, and distribution. Logging and prosecuting did not keep Wolverine from its early-cut release.

If I had ever (after ~1997) thought that you or I or others taking the moral position would influence the outcome on the industry, I would not be so firm in my conviction. With the piracy of custom porn, clearly the harm in each act threatens the business model. The numbers and motives of participants are different.

Whether or not I exist, to act or speak this argument, it lives outside either of us. I know of no workable to prevent this world of film preservation from sliding into Hell.

Whether or not you believe this argument, I do actually want you to spend your energy in ways which most pay off for YOUR goals. Even if I'm wrong about the piracy dynamic, my underlying concern is that your effort is not wasted, while the seas are rising and filing with garbage. Those challenges might be winnable, and worth advocating for. If not, copyright won't be collecting very much money anyway.

- Dale Coba

(I think the hot trash ocean will swallow us all, but in the causes I pursue, I live like it's my single vote which will decide the election.)

[visceralpsyche]

If we care about creators, we must find the new business models for them to prosper.

This is especially pertinent to me Dale, since I am at the coalface, so to speak. I grapple with this every day. How do I as a potential content creator, make enough profit to keep doing what I love and provide the viewers with what THEY love?

It's easy to point at major success stories like Avatar which has just become the world's highest grossing film, EVER, and say that they won't feel it if people pirate that movie.

But it's the 99% of filmmakers that don't get to see those types of profits that ultimately get hurt by piracy, commercial or non-commercial.

Good filmmaking is ultimately an expensive art form - maybe THE most expensive art form. Sure, YouTube has resulted in tonnes of cheap dreck that people can have a laugh at and go on with their lives. But the kind of quality you want to see and most importantly, be moved by in some way, generally has far higher production values and in the fembot fetish sub-genre, has CG that looks believable and fits what you want to see.

Ultimately, I hope that with the internet providing a worldwide stage, people like me who want to make very niche market films can still find enough fans who are willing to fund said films to make a living and therefore keep providing what you (and I) love.

Imagine if no one paid for movies any more due to almost ubiquitous piracy. How, in that world, could we as filmmakers ever survive to provide you with future movies?

I've noted in the Commercial Updates section about a potential new business model to get funding for films we here want to see. Check it out:

http://www.fembotcentral.com/viewtopic. ... 7972#47972

It's just one idea of many but could be a way forward.

Cheers!

Paul

[dale coba]

V.P.,
You have an appetite and an aptitude for the new possibilities; and you are not at all naive about the challenge or who "the enemy" is. Ah, but you may as well try and catch the wind... with a sail or a wind farm! I'm learning from you, today about Kickstart. I have projects worth imagining, including and beyond the example of film-making in a profit-based model. Kickstart is only the first iteration of a premise which will become much more powerful and multifaceted.

A thought: with new Twitter apps, more power users will be reading the whole feed for choice hashtags and keywords (fembot, gynoid, android, cyborg, robot). A Twitter campaign might pull in the curious, with crafted, 140-character prose to echo moments and lines from the characters in your story.

As a forever paralyzed non-writer, I can't even cobble my big Fembot ideas into prose. Maybe once other projects have settled, I'll drop some of my "perfectionism", and have a story to share here at FC.

- Dale Coba

[visceralpsyche]

A thought: with new Twitter apps, more power users will be reading the whole feed for choice hashtags and keywords (fembot, gynoid, android, cyborg, robot). A Twitter campaign might pull in the curious, with crafted, 140-character prose to echo moments and lines from the characters in your story.

Dale, this is something I've been thinking about already, with my @visceralblack feed. But I've largely been inactive up to now with just a few tweets. I guess I should post more....

I think this subject of how to get specific ASFR content funded via new media means etc warrants its own separate thread (so as not to detract from the Metropolis topic which I am separately excited about!).

Let me start one and then we can discuss it further!

Cheers,

Paul

[still time]

Why do I get the feeling this is completely bogus?
http://www.morodermetropolisdvd.com/
Maybe because it's coming out on Blu-ray this April.
http://www.kino.com/metropolis/
Now if it only was on a regular DVD and not Blu-ray (or a combo pack).

[Baron]

Already covered this, but worth repeating:

METROPOLIS COPYRIGHT