By Gary Westfahl
This booklet gathers jointly a number of the illuminating essays on technological know-how fiction and myth movie penned through an important critic within the SF box. The items are approximately equipped within the chronological order of while the flicks and tv courses being mentioned first seemed, with essays supplying extra normal overviews clustered close to the start and finish of the amount, to supply the final air of mystery of a historic survey. even supposing this publication doesn't faux to supply a entire historical past of technological know-how fiction and fable motion pictures, it does intermingle analyses of flicks and television courses with a few discussions of comparable performs, novels, tales, and comedian books, rather within the essays in this Island Earth and 2001: an area Odyssey and its sequels. Inciteful, wonderful, and whole of clever and witty observations approximately technological know-how fiction and its occasionally curious courting with the visible media, those essays will either pride and entertain critics, fanatics, and audience alike.
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Leipzig, to a degree, was still free of that. Later on, when Hitler came to power, this was one of the plays which was, naturally, dragged up against me constantly. Still, I have a good memory of it, and a good production of mine it was, too, I think. It was a very unsettling time. People were anxious and uneasy, and not yet entirely committed to the Nazi creed. For instance, I remember when I was staging Schiller's Don Carlos in the Altes Theater,'7 there is a line where the Marquis Posa says to King Philip: 'Sire, give freedom of thought' - just that, but people started clapping like mad.
I still think it was a good production, and probably my most mature effort in the theatre - a kind of milestone in theatrical history ... or rather the end of a chapter. Hans Rothe, the famous translator of Shakespeare, later wrote that this was the occasion when the curtain rang down on the German stage. 25 In a strange way, though, this also contributed to the way I felt about the Nazis. I didn't expect the Nazis to last. I was wrong about this. First of all, like a lot of people, I didn't ever expect them to get power - and then when they did get in, I didn't believe they could hold on to it.
At this time it was quite unusual for stage people to direct pictures at Ufa. As I told you, in Leipzig I had been under constant attack ever since the Nazis came into power, and I had only survived because of Dr Goerdeler. But altogether it was impossible down there. I had no passport, and things were extremely bad. My idea was to get into pictures and emerge there as a completely new personage because strange as it may seem - these movie people seemed to know nothing about my political past. And then there was a strange system of what I call 'parallelisms'.