Power Metal


10 Years - Various - Wir kommen und werden euch fressen (Cassette)


You can also arrange the topics and word families accord ing to the material you have just leamed in the chapters of the textbook.

Langenscheidt' s Basic Vocabulary German and its Workbook have a very practical format. You can leam anywhere, whenever you have time. For exarnple, w hy not review the chapter "Traffic" in the bus going to or fro m work? Good luck and have fun! Notes: For regu lar nouns, the pronunciatio n, the gender, the genitive and nomi nat ive plural forms are provided after the basic word. Only irregular form s of the plural are spelled out. Aft er that co me the various possibi lities for using it in transitive or reflexive form s.

There are also examples of co mmon preposi tio ns used with it. For examp le: anmelden ['anmEid ;J n] VIf. I've signed up for the test. XII Not all the possibilities of using a verb are includedjust the most frequent. For adjectivesthe comparative forms are given only if they vary from normal format ion. For example: gut [gu:t] Adj. Es geht mir gut. I'm doing weil.

For example: abgeben ['apge :b ;»n] Vlt. Since most adject ives in German can be used as adverbs, no distinct ion is made in English between adjectives and adverbseven for those words that are "pure" adverbs. Did you really believe that she told you everything? Auge ['auga] n, - S- n Meine Schwester und ich haben braune Augen.

Bein [bain] n, - e s, -e Kannst d u lange auf einem Bein stehen? Blut [blu :t] n, - e s, kein PI. Ich mag kein Blut sehen. Brust [brust] t, - kein PI. Gesicht [qa'zict] n, - e s, -er Es war dunkel.

Ich konnte ihr Gesicht nicht sehen. I co uldn't see her face. H aut [haut] f, - kein PI. Seine Haut ist imm er ganz rot. Nase ['na. Hast du Schnupfen? O hr [o. Sicher ist sie eingeschlafen. Gehirn [ga'hirn] n, -B-e Hoffentlic h ist das Gehirn nicht verletzt. You're not strong enough for this work. She's breathing very softly. She must have fallen asleep. Sie hat ein spitzes Kinn. Augen- Lid [Ii:t] n, - eis, -er Das recht e Augenlid tut weh. Lippe ['lipa] t, - -n Komm aus dem Wasser!

Du hast schon ganz blaue Lipp en. Deine Lunge ist best immt schon ganz schwarz. Mein Mage n ist nicht in Ordnung. Muskel ['musk a l] m, - S-n Er hat starke Muskeln. Your lips are all blue. Your lungs must be all black by now. Stirn [Jtirn] t. Die Stirn ist ganz kalt. His forehead is cool. Findest du mich zu dick? I am taller than my husband. Bart [ba. Brille ['bril a] t. Zie h lieb er eine Jeans an!

Sie hat eine toll e Figur. Frisur [fri'zu. Locke ['bka] f,,-n o Hat er Loc ken? Se it ihrer sc hwe ren Krankh eit ist sie sehr mag er. Sie hat eine zarte Haut. Put jeans on inst ead. She has so ft sk in. Von links kommt ein Auto.

Denken Sie an den Termin um Er hat viel Erfahrun g. He has a lot of expe rience. Kannst du dich an ihn erinnern? A car is co ming frorn the lett. He is aware of the fact that he has to take responsibility for his rnistake. For this work you don't have to think much. You will think of the appoi ntmen t at p.

What do you think of th e sugges tion? Have you heard anything new from Eva? Please remind Eva of her pro mise. Do you remember him? Geist [gaist] m, -es, kein PI. Interesse [inta'rssa] n, - B, -n An Sport habe ich kein Interesse. Er ist an Kunst nicht int eressi ert. Ich kenne ihn nicht gut. Kenntnis ['kwtnis] t, - -se Er hat sehr gute Kenntnisse in Math ematik und Physik.

He is not interested in art. I have not been able to interest him in art. He is not interested in old pictu res. I do not know him weil. It wou ld be wiser to take a tax i. He cannot explain that eit her; please ask someone else. Sie kann sic h keine Zahlen merken. Entschul digung, ich habe Ihren Namen vergessen. Das ist gegen jede Vernunft. I have noticed that the times are changing. She cannot retain numbers.

Excuse me, I've forgo tte n your name. Man kann gut mit ihr reden. Hast du den Verstand verloren? Ich verstehe nichtwarum sie das macht. Verstehst du diesen Satz? Er versteht etwas vo m Kochen. Wir verste hen uns gut. She is a very sensible person. I don 't understand why she does that. He knows something about coo king.

We get along weil. Jetzt kann ich begreifen, warum er keine Lust hatt e. Now I can understand why he wasn't interested.

What a crazy ideal see, realize v I thin k he realized his mistake. Phantasie [fanta'zi:] f, - kein PI. Den Architekte n fehlt manchm al ein bissc hen praktische Phantasie. I invented this tech nical so lution myself. Before we beg in, we have to formulate an intelligent plan. She works very skillfully. She is very articu late.

Have you co nsidered whether you are go ing to accept the ofter? Vorstellung [fo. Obwo hl sie reich sind, leben sie sehr besc heiden. Charakter [ka'rakt o"] m, -s, -e respectable, weil behaved Please behave yourself! Ich sage es Ihnen ganz ehrlich: Ihr Kind ist sehr krank. Sei vorsichtig, er hat schlechten Charakter. Geduld [qa'dult] t, - kein PI. Herr Kurz kommt gleich. Bitt e haben Sie etwas Geduld!

Kurz is co ming right away. Please be patient. Sie leben sehr sparsam und sind besch eiden. Sie ist eine ziemlich strenge Chefin. Einbildung ['ainbildul ] t, - -en Das gib t es nur in deiner Einbildung.

Sie ist eingebil det und auch noch dumm. Hast du Probleme? Das war ein faires Spiel. Er ist ein humorvoller Mensch. Laune ['laune] t, - -n Morgens hat sie immer schlechte Laune. Sie hat dem Chef ihre Meinung gesagt. Sie hat wirklich Mut. Her parents are very generous. She is really brave. Your curios ity is really a pro blem. Warum willst du das wissen? Deine Neugier ist wirklich schlimm.

Sie ist sehr orde ntlich. She is very orde rly. Ci No. He is very shy. Ich muss seine Arbeit nicht kontrollieren. Sorgfalt ['z:Jrkfalt] t, - kein PI. Bei dieser Arbeit ist Sorgfalt sehr wichtig. Dein Lob macht mic h verlegen.

He is absolutely indepe ndent. Ist die Wassertemperatur angenehm? Ich bin erleichtert, dass es ihr besser geht. Ich freue mich auf das Wochenende. Ich bin froh, dass es dir gut geht.

I feelexcellent. Sie hat mir einen lieben Brief gesc hriebe n. Liebe Frau Kurz, ' " Anrede in einem Brief. Liebe ['Ii:b a] f, -kein PI. Sie haben aus Lieb e geheiratet. Lust [lust] f, - kein PI. Ich habe Lust auf Eis. Stimmung ['Jtimul]] f, - -en Die St immung auf der Feier war prima. The dog is nice; he won't bite.

Dear Ms. Dieser Film ist mir zu traurig. Wollen wir nicht 10 Years - Various - Wir kommen und werden euch fressen (Cassette) einen heiteren sehen? Ich bin mit Ihrer Arbeit sehr zufrieden. Iight-hearted This mov ie is too sad. Wouldn 't we rather see some thing more light-hearted? Sie will nacht s nicht alleine im Haus bleiben. She is very fearful. Der letzte Bus ist weg. That is really annoying.

Ich habe mir Sorgen gemacht. I was worried. I am very sorry that I cannot accept your invitation. I fear that somet hing terrible has happened. She got angry when I told her the story. I am afraid that we will be late, I am afraid of the dog.

The dog is feared by everyone. Sorg dich nicht um mich! Ich werde vorsichtig sein. Trauer ['traua"] f, -kein PI. Sie ist traurig, weil ihre Katze gestorben ist. Ich habe ihm unang enehme Fragen gestellt. Sie war so verzweifeltdass sie nicht mehr leben wollte. Wut [vu:t] f, -kein PI. Sie wurde rot vor Wut. Don't worry about me! Deshalb darf er sich nicht aufregen. That' s why we must not upset him. That's why he must not get excit ed. Seine Eltern sind deshalb sehr beso rgt. Beunruhigt dic h etwas?

Warum beu nruhigst du dich? Die Eifersucht meines Mannes wir d immer schlimmer. Sie darf keinen anderen Mann ansehen. Furcht [furct] t, - kein PI. Unsere Katze hat keine Furcht vor Hunden. His parents are therefore very co ncerned. Is something bot hering you Why are you so wor ried? Her boyfriend is terribly jealous. Er hasst Partys. Er hat ihn aus Hass erschossen.

Unruhe f, - nur 8g. Any student learning a foreign language must master a certain vocabulary base before he or she can communicate or read in that language. Acquisition of that base vocabulary requires study, often outside of the classroom setting. Langenscheidts Basic German Vocabulary is designed to facilitate the acquisition of that core vocabulary in the easiest and most efficient manner possible.

It is meant for use by beginning learners with no previous knowledgeof the German language, by more advanced students as a review and for test preparation, and by anyone as preparation for pleasure or business travel into a German-speaking country.

Those who have successfully worked through Langenscheidts Basic German Vocabulary will have the necessary knowledge to function and communicate in all everyday situations in German. Why a BasicVocabulary? The German Language, like any other language, is comprised of millions of words, yet 50 YO of normal spoken and written texts are comprised of only 66 words.

Students rightfully ask, which words do I have to learn in order to carry on an everyday conversation or read a text written for the average German speaker? The magic answer is usually 2, words, i. Langenscheidts Basic German Vocabulary contains two times 2, words. The core 2, words are followed by a second group of the 2, next most frequently used words which comprise afurther 5 YO YOof all written and oral communication. The division of the thematically-organized entries into two groups, 1 -2, and 2, -4, identifies for the learner those words which should be learned immediately and those which can be reserved for second level learning.

Once they have mastered the first 2, words, students have the option of increasing their vocabulary over a wide subject range, or concentrating on specific areas of interest, such as law, economics, etc.

The use of the target language to teach the language is the norm in most programs today. Usually a new word is explained in simple German and illustrated with practical examples. The practical teaching situation, however, requires flexibility in using the native language, especially when difficult concepts need to be clarified.

Vlll Therefore, many monolingual textbooks have bilingual vocabulary lists or glossaries. The Basic Vocabulary is only meant to serve as a supplement for study and learning. Why these words? Langenscheidts Basic Vocabulary selects the most important words for a student to learn and use. The Basic Vocabulary is based on evaluation of numerous lists of basic German vocabulary published in Germany, Austria, Switzerland and other countries.

All the important sources of information on word frequency in written and spoken German were considered. An exact source list would go beyond the purpose of this introduction.

The choice of words was not based only on frequency. Factors such as how familiar and useful a word is in everyday conversation were also considered. Langenscheidts experience in producing dictionaries and teaching materials also helped. The critical choice of example sentences was made by native speakers on an outside of our regular staff.

How is the Basic Vocaljulary arranged? Words and expressions in Langenscheidts Basic Vocabulary German are arranged by topic, not simply in alphabetical order. Educational research indicates that trying to learn words alphabetically is not effective. Similarities in orthography lead to confusion and spelling errors. Most importantly, words are very difficult to learn without context and topic.

Alphabetical arrangement can become an obstacle to correct use in a specific thematic situation. Learning basic words in subject areas is easier and more effective. The contextual relationships among words and the physical proximity of words on the page encourage the development of associations in memory. For all these reasons, we emphasize learning in subject areas.

IX In addition to the thematic presentation, all entries are presented contextually, i. The presentation of the basic word in sentences is important because the learner sees the word used correctly. The danger of using the word later in the wrong context will disappear. Example sentences often can be used word-for-word because they are taken from common everyday speech an represent frequently used idiomatic expressions. In the Workbook to the Basic Vocabulary there are further examples of usage.

In each of the sample sentences, care has been taken so that the vocabulary used, as far as possible, does not include any words beyond those found in the basic vocabulary. It is left up to the learner whether to study only with the Basic Vocabulary or to do further exercicesfor vocabulary building. For a quick and certain expansion of the vocabulary, we recommend the use of the workbook as well as the text. Systematic work with the two volumes creates a certain confidence in vocabulary building which helps the acquisition of new words.

Although gender information and irregularverb forms are given next to the basic word, the text and Workbook are not meant to replace, but rather supplement, the use of a dictionary and grammar book. In some cases a word has various meanings which are clarified in the sample sentences. For example:.

FuOball rfu:sbal] m, - e s, kein PI. FuBball ist bei uns die beliebteste Sportart. Naturally a vocabulary list cannot present all the meanings and uses of a word in all circumstances. For example, there are seldom-used forms of verbs that learners will not find here because they are not necessary for acquiring a basic knowledge of the language.

There are also very few technical words included; only the common meanings of words are given. Frequency of use and usefulness of the word determined inclusion into the Basic Vocabulary. Likewise, the Basic Vocabulary includes only a handful of the many compound words so common in German. But a solid knowledge of basic vocabulary should enable a learner to understand and build a wider vocabulary of compound words.

How to Work with the Basic Vocabulary? Here are nine suggestions for working with the material: 1. Learn the words in the2, -4, group later. Take advantage of the arrangement by subject area. Dont work on a page-by-page basis, but try to cover one topic at a time e. The words of a subject area contain associations which aid memorization.

Use the designations of subject areas as learning aids. Work through the individual categories one by one, first covering those whose topics most appeal to you. Always review each category already covered after working on a new category. Set up your own learning system. Learn the amount of material that best suits you. Read an item the main word in bold print with its example sentences and memorize the category the word belongs in. Go through eight to ten words this way.

Then cover the left column and repeat aloud the covered words. If you wish, also read aloud the sample sentence. Check your progress by uncovering the left column. Work through your set this way. Make a mark in the left margin next to the words you havent memorized yet and work on just those words.

For the final check of each set, speak and write every word again. Vary your study habits: Cover the right column instead of the left, and work as described in suggestion 4 above. Only learn the example sentences that help fix the meaning of the words in your memory. You can also take an individual word that you have had to look up in an alphabetical list, put it in 10 Years - Various - Wir kommen und werden euch fressen (Cassette) category, and learn it in a meaningful context.

Z Every day learn a specific amount, taking breaks in between each session. In a few weeks you will have systematically learned a core vocabulary; the actual amount of vocabulary items depends on you. Dont forget to repeat and test yourself at regular intervals. Langenscheidts Basic Vocabulary German is independent of specific textbooks. It is suitable, however, for reviewing the vocabulary learned in a course, in order to: a prepare the appropriate vocabulary before free communication exercises or going through certain reading texts; b work on vocabulary areas after working through a specific text whose various parts include this word field; c develop and expand from a single word to a complete vocabulary category.

You can also arrange the topics and word families according to the material you have just learned in the chapters of the textbook. Langenscheidts Basic Vocabulary German and its Workbook have a very practical format. You can learn anywhere, whenever you have time. For example, why not review the chapter Traffic in the bus going to or from work?

Good luck and have fun! Notes: For regular nouns, the pronunciation, the gender, the genitive and nominative plural forms are provided after the basic word. Only irregular forms of the plural are spelled out. For example: Ball [ball m, -s, Balle For verbs, three forms: present infinitive, first person singular of the imperfect, and third person singular with haben or sein, are presented.

After that come the various possibilities for using it in transitive or reflexive forms. There are also examples of common prepositions used with it. Ich habe mich fur die Prufung angemeldet. For adjectives, the comparative forms are given only if they vary from normal formation.

Es aeht mir aut. Please hand in the letter at the reception desk. Since most adjectives in German can be used as adverbs, no distinction is made in English between adjectives and adverbs, even for those words that are pure adverbs. Ein wirklicher Freund hatte dir in dieser Situation geholfen.

Hast du wirklich geglaubt, dass sie dir alles erzahlt hat? Did you really believethat she told you everything? I Korper 1. Reiben Sie Brust und Rucken mit dieser Salbe ein! Das Baby trinkt Milch an der Brust der Mutter. I couldnt see her face. Do you have a cold? Sein Atem geht schwer und unregelmaBig.

Sicher ist sie eingeschlafen. Sie hat ein spitzes Kinn. Shes breathing very softly. She must have fallen asleep. Lunge [luga] f - -n Hor auf mit dem Rauchen! Deine Lunge ist bestimmt schon ganz schwarz. Magen [rna:g a n]m,-s,Magen Ich kann nicht vie1 essen. Mein Magen ist nicht in Ordnung. Your lungs must be all black by now. Im having problems with my stomach.

She is only 17, but she looks like Zieh lieber eine Jeans an! Sie hat eine zarte Haut. Ja, drei Kilo. She has soft skin. Denken Sie an den Termin urn Was denkst du uber den Vorschlag? Er hat vie1 Erfahrung. Kannst du dich an ihn erinnern? For this work you don't have to think much.

You will think of the appointment at 8:OO pm. What do you think of the suggestion? Have you heard anything new from Eva? He has a lot of experience. Ich habe ein schlechtes Gedachtnis. Geist [gaist] rn, -es, kein PI. Sie ist schon uber 90 Jahre alt, aber ihr Geist ist noch jung.

Er ist an Kunst nicht interessiert. Ich habe ihn fur Kunst nicht interessieren konnen. Er interessiert sich nicht fur alte Bilder. Ich kenne ihn nicht gut. Kenntnis ['kentnis] f - -se Er hat sehr gute Kenntnisse in Mathematik und Physik. He has a beard now; that's why I didn't recognize him immediately. She is intelligent, but unfortunately not reliable. Art does not interest him. He is not interested in art. I have not been able to interest him in art.

He is not interested in old pictures. I know the street well. I do not know him well. Es ist kluger, ein Taxi zu nehmen. K Er kann kein Franzosisch.

Das kann er auch nicht erklaren, bitte frage jemand anderen. Sie kann sich keine Zahlen merken. It would be wiser to take a taxi. He cannot explain that either; please ask someone else. She cannot retain numbers. Entschuldigung, ich habe lhren Namen vergessen. I didnt say that; I must have been misunderstood. Have you thought about my suggestion? Excuse me, Ive forgotten your name. Man kann gut mit ihr reden. Sie ist sehr vernunftig.

She is a very sensible person. Ich verstehe nicht, warum sie das macht. Verstehst du diesen Satz? Er versteht etwas vom Kochen. Wir verstehen uns gut. I could not understand him very well on the telephone. Do you understand this sentence? He knows something about cooking. Jetzt kann ich begreifen, warurn er keine Lust hatte. Einfall ['ainfal] rn, -s, Einfalle Nachts schwimmen gehen -was fur ein verruckter Einfall. I don't understand this question. Now I can understand why he wasn't interested.

Don't tell such stupid jokes. What a crazv idea! Diese technische Losung habe ich selbst erfunden. Phantasie [fanta'zi:] t - kein PI.

Den Architekten fehlt manchmal ein bisschen praktische Phan. She made up the story. I invented this technical solution myself. She is very articulate. He is a crazy boy, but I like him. Charakter [ka'raktaq m, -s, -e Sei vorsichtig, er hat einen schlechten Charakter. Ich sage es lhnen ganz ehrlich: Ihr Kind ist sehr krank. Geduld [ga'dult] f,kein PI. Herr Kurz kommt gleich. Bitte haben Sie etwas Geduld! Sie wartete geduldig auf die nachste StraOenbahn.

Unser Nachbar ist sehr neugierig. Sie leben sehr sparsam und sind bescheiden. She is a fair teacher. Doesnt she have any good qualities? Hast du Probleme? Do you have problems? Sie hat zum Geburtstag ein Auto bekommen. Mut [mu:t] m, - e s, kein PI. Sie hat dem Chef ihre Meinung gesagt. Sie hat wirklich Mut. Neugier [nAgi:aq t - kein PI. Warurn willst du das wissen? Deine Neugier ist wirklich schlimm. I libri sono pertanto opere letterarie.

Google ha stimato che al sono stati stampati approssimativamente milioni di titoli diversi. La parola italiana libro deriva dal latino liber. Il vocabolo originariamente significava anche " corteccia ", ma visto che era un materiale usato per scrivere testi in libro scribuntur litteraePlautoin seguito per estensione la parola ha assunto il significato di " opera letteraria ".

Se ne deduce che le prime scritture delle lingue indoeuropee possano esser state intagliate su legno di faggio. La scrittura, un sistema di segni durevoli che permette di trasmettere e conservare le informazioni, ha cominciato a svilupparsi tra il VII e il IV millennio a. Quando i sistemi di scrittura vennero inventati, furono utilizzati quei materiali che permettevano la registrazione di informazioni sotto forma scritta: pietraargillacorteccia d'albero, lamiere di metallo.

La scrittura alfabetica emerse in Egitto circa 5. Gli antichi Egizi erano soliti scrivere sul papirouna pianta coltivata lungo il fiume Nilo.

Inizialmente i termini non erano separati l'uno dall'altro scriptura continua e non c'era punteggiatura. I testi venivano scritti da destra a sinistra, da sinistra a destra, e anche in modo che le linee alternate si leggessero in direzioni opposte. Le tavolette di cera erano assicelle di legno ricoperte da uno strato abbastanza spesso di cera che veniva incisa da uno stilo. Avevano il vantaggio di essere riutilizzabili: la cera poteva essere fusa e riformare una "pagina bianca". Erano utilizzate anche le cortecce di albero, come per esempio quelle della Tiliae altri materiali consimili.

La parola greca per papiro come materiale di scrittura biblion e libro biblos proviene dal porto fenicio di Bibloda dove si esportava il papiro verso la Grecia.

Tomus fu usato dai latini con lo stesso significato di volumen vedi sotto anche la spiegazione di Isidoro di Siviglia. Che fossero fatti di papiro, pergamena o carta, i rotoli furono la forma libraria dominante della cultura ellenisticaromanacinese ed ebraica. Gli autori cristiani potrebbero anche aver voluto distinguere i loro scritti dai testi pagani scritti su rotoli.

La storia del libro continua a svilupparsi con la graduale transizione dal rotolo al codexspostandosi dal Vicino Oriente del II - II millennio a.

Fino al II secolo d. All'arrivo del Medioevocirca mezzo millennio dopo, i codici - di foggia e costruzione in tutto simili al libro moderno - rimpiazzarono il rotolo e furono composti principalmente di pergamena. Quattro son troppi? Anche nei suoi distici, Marziale continua a citare il codex: un anno prima del suddetto, una raccolta di distici viene pubblicata con lo scopo di accompagnare donativi.

Questa mole composta da numerosi fogli contiene quindici libri poetici del Nasone». Dal II secolo a. Nel mondo antico non godette di molta fortuna a causa del prezzo elevato rispetto a quello del papiro. Il libro in forma di rotolo consisteva in fogli preparati da fibre di papiro phylire disposte in uno strato orizzontale lo strato che poi riceveva la scrittura sovrapposto ad uno strato verticale la faccia opposta. La scrittura era effettuata su colonne, generalmente sul lato 10 Years - Various - Wir kommen und werden euch fressen (Cassette) papiro che presentava le fibre orizzontali.

Non si hanno molte testimonianze sui rotoli di pergamena tuttavia la loro forma era simile a quella dei libri in papiro. Gli inchiostri neri utilizzati erano a base di nerofumo e gomma arabica. Dal II secolo d. La vecchia forma libraria a rotolo scompare in ambito librario. In forma notevolmente differente permane invece in ambito archivistico. Questo mezzo, permettendo l'accelerazione della produzione delle copie di testi contribuisce alla diffusione del libro e della cultura.

Altri suoi distici rivelano che tra i regali fatti da Marziale c'erano copie di Virgiliodi Cicerone e Livio. Le parole di Marziale danno la distinta impressione che tali edizioni fossero qualcosa di recentemente introdotto.

Sono stati rinvenuti "taccuini" contenenti fino a dieci tavolette. He slammed his fist against the door. The children hit each other. Please close the door! The door closes poorly. The stores close at p.

In the evening the blossoms of this flower close up. Shall I slice the cheese? The scissors cut well. I cut my finger. Vorsicht, die Pflanze sticht! You have to do a better job to protect yourself from colds. The jacket is good protection against the wind. There are still difficulties,but well make it just the same. Ich bin mit dem Kopf gegen eine Glastur gesto0en. Ich habe mich am Knie aesto0en. Ich suche meine Brille. Hast du sie gesehen?

Suche rzu:xa] - kein PI. Die Suche nach einem Hotelzimmer kostete uns zwei Stunden. Ich treffe-Uwe morgen. Wir treffen uns jeden Tag. Es ist besser, wenn wir uns trennen. Sie haben sich vor kurzem getrennt. Er hat sich stark verandert. Sie allein e haben die Verantworfiiv f l a Entscheidung. She bumped him in the back.

I banged my head on a glass door. I banaed mv knee. He was hit by a punch in the face. Im meeting Uwe tomorrow. We meet every day. The two countries are divided by the river. It would be better if we parted ways. They separated recently. Die Katze hat sich auf dem Dachboden versteckt. Ich habe keineverwendung mehr dafur. Er hat sich gut auf die Prufung vorbereitet. I was promised a higher wage. I have no more use for them. Wenn Sie vorsichtig sind, kann lhnen nichts passieren. Das Wetter wechselt standig.

Konnten Sie mir ,- DM wechseln? Er wickelt sich einen dicken Schal urn den Hals. Ich bin 1,65 m gro0 und wiege 55 Kilogramm. The preparation for the festival lasted three davs. The ladder is not steady. I warned him about thieves, but he was careless just the same. The bulb in this lamp has to be changed. The weather changes all the time. Could you change one hundred Marks for me? He wraps a thick shawl around his neck. Did you weigh the suitcase? Beeil dich, die Geschafte machen bald zu!

Der Uufer gab erschopft auf. Er hob seinen Mantel vom Boden auf. Deliver the letter to the post office. The runner gave up, exhausted. Wann macht der Supermarkt auf? Wir hatten das Zelt direkt am Strand aufaestellt. The chairs should be placed in a row. We put the tent up right on the beach. Welche Fremdsc:x h e n beherrschen Sie? Bitte bleib ruhig und beherrsch dich! Man muss beriicksichtigen, dass sie sehr krank war.

Jede Beruhruna tut weh. Which foreign languages do you know well? Please be calm and control yourself. She still needs a lot of rest. You have to consider that she was very ill.

The slightest touch hurts. Der Wind blast mir ins Gesicht. Wind is blowing in my face. The problem can only be solved together; so everybody has to be included in the discussion. Sie konnen mich unter dieser Nummer erreichen. Hast du erreicht, was du wolltest? Beeil dich, sonst erreichst du den Bus nicht mehr! Hast du den Zug noch erwischt? Ich habe noch einen Pullover erwischt. Sonst waren fast alle verkauft.

Forderung [fcerdarug] i - kein PI. Es gibt an unserer Schule jetzt Kurse zur Forderung der schlechteren Schuler. I cant reach the top shelf. You can reach me at this number. Did you get what you wanted?

Hurry, or you wont get to the bus on time! The thief was caught. Did you still make your train? I managed to still get a sweater. Most of them were already sold. At our school there are courses to help weak students. Jemand klopft an die mr. Iauten [bit a n] VA. Machst du bitte die Tiir auf? Auf einigen Bildern ahmt er van Gogh nach. The knot is too tight; I cant loosen it.

In a number of pictures he imitates van Gogh. The storm knocked down the tent. The thief ripped off her purse. Look out, the rope is tearing!

Wegen einer Storung konnte er kein Fernsehbildempfangen. Er stutzt sich auf einen Stock. The guest complained about the poor service in the restaurant. Because of an interference he could not get the television picture. He supports himself with a cane. Die Farbe trocknet schnell.

Bitte uberprufen Sie die Rechnung noch einmal! Ich uberraschte rneine Tochter, als sie heimlich eine Zigarette rauchte. We were surprised that we were not checked. I surprised my daughter smoking a cigarette secretly. You cannot disregard the regulation without conseauences. Er ist ein unvorsichtiger Fahrer, er fahrt so wild. Die Tiere verbargen sich bis zum Abend im Wald. Die Qualitat der Produkte hat sich im letzten Jahr verbessert.

Gerd has to support his parents because their pension is too small. Are you hiding a secret from me? The animals hid in the forest until evening. Dieser Plan ist mit sehr vie1Arbeit verbunden. Die FuOballmannschaft verstarkte sich mit einem neuen SDieler. Seit ihrer Krankheit hat sie sich vollkommen verwandelt. The canal connects two rivers. Monika spilled coffee. The wall has to be strengthened; otherwise the house will cave in. The soccer BE: footbal1 team was reinforced with a new daver.

The old house was almost transformed into a new building. Since her illness she has changed completely. Sie wagt sich nachts nicht allein durch den Park.

Niemand, es ist in der Spulmaschine von selbst zerbrochen. She does not dare to walk through the park alone at night. Begriff [ba'griq rn, - e s, -e Mein Arzt verwendet oft medizinische Begriffe, die ich nicht verstehe. Bibliothek [biblio'te:k] f,-en Das Buch habe ich in der Bibliothek ausgeliehen. Fach [fax] n, - e 10 Years - Various - Wir kommen und werden euch fressen (Cassette), Facher Sie weiO noch nicht, welches Fach sie studieren mochte.

Fahigkeit [fe:iqkait] f,-en Sie hat angeblich die Fahigkeit, die Zukunft vorauszusagen. Germanistik [germanistik] f - kein PI. In Japan und Korea hat die Germanistik eine lange Tradition. Unser geschichtliches Wissen uber die Steinzeit ist sehr gering. German language and literature, Germanistics,German n In Japan and Korea the study of German language and literature enjoys a long tradition.

Methode [meto:da] f,-n Es gibt verschiedene Methoden, eine Sprache zu lernen. Sie kann schnell rechnen. He is readina the newsDaDer. She can calculate quickly. Uber die Ursachen von Krebs gibt es viele wissenschaftliche Untersuchungen. I do not know where he lives. There have been many scientific studies on the causes of cancer.

Bucherei [by:qa'rai] f - -en Das Buch habe ich in der Stadtbucherei ausgeliehen. You can also buy magazines in this bookstore. Jahrhunderl war das Zeitalter der grol3en Entdeckungsreisen. Fachmann [faxman] m, - e s, Fachmanner, meist: Fachleute. Columbus discovered America in Die Kinder an dieser Schule werden sehr fortschrittlich erzogen. This work has to be done by an expert. Both researchers received a prize for their work.

Konzentration [kmtsentraYsjo:n] f - kein PI. Der Text ist schwierig. Das Lesen erfordert hohe Konzentration. Ich muss mich konzentrieren. Notiz [no'ti:ts] f - -en Ich habe mir wahrend des Gesorachs einiae Notizen aemacht. Philosophie [filozo'fi:] f - kein P1. Herr Dr. Kranz ist kein Arzt, er ist Doktor der Philosophie. Symbol [zym'bo:l] n, -s, -e Das x ist das Symbol fur Multiplikation in der Mathematik. The text is difficult. Reading it requires considerable concentration. Don't disturb me!

I have to concentrate. Kranz is not a physician; he is a doctor of philosophy Ph. Fuchs wurden ausfuhrlich diskutiert. Fuchs were thoroughly discussed. Das Buch beginnt mit einem allgemeinen Uberblick uber die Geschichte des Konnten Sie mir den Brief ubersetzen? Er zeigte vie1Verstandnis fur meine schwierige Situation. Wort [v3rt] n, -es, -e Worter Dieser Satz hat funf Worter. Sie kann komplizierte Dinge mit einfachen Worten erklaren. The defendant was silent when the iudae auestioned him.

She is able to explain complicated things in simple words. Ich habe nicht zugehort. Anfrage [anfra:ga] t - -n Auf meine Anfrage bei der Botschaft habe ich noch keine Antwort bekommen. Aussprache [ausJpra:xa] t - kein PI. Die franzosische Aussprache ist fur Deutsche sehr schwer. Bitte buchstabieren Sie! I was not listening. How do you spell that?

Please spell it. You couldnt hear a single sound. Er war den ganzen Abend sehr schweiasam. You could not understand anything on the telephone. Aussage [ausza:ga] f - -en Vor Gericht machten die Zeugen verschiedene Aussagen. This expression is quite appromiate. I like this picture a lot, she commented. Mitteilung [mittailuq] f,-en Wir bekamen die Mitteilung, dass Irene schwer verletzt ist.

Sie rief laut nach ihrem Hund. Satz [zats] m, -es, Satze Das Buch ist in einfachen und kurzen Satzen aeschrieben. Er spricht sehr 10 Years - Various - Wir kommen und werden euch fressen (Cassette).

The employees were informed that the firm would be sold. He tells nobody how old he is. She speaks three foreign languages. He enunciates poorly. Anmerkung [anmcrkug] f,-en Zu dem Vertrag habe ich noch einige Anmerkungen. Ich habe mich wohl nicht richtig ausgedruckt. Bitte benachrichtigen Sie seine Frau. Frau See1 ist in einer Besprechung. A found footage project in collaboration with the musicians of the French group Cheveu.

To the A and B side Frank Beauvais assembles his material into a wild trip. Und der Alptraum kann beginnen… Elegiac horror-sci-fi by Andi Bruntel. Liars singer Angus Andrew wakes up shipwrecked in a rubber dinghy on the open sea. A response to the excesses of conventional hip hop clips. For Jay-Z Sam Brown has created a pictorial black and white universe — abstract, simple and claustrophobic. The use of occult symbols alarmed conspiracy theorists on the Web.

Hier stellt sich eine Frage: Warum war dieses Kino eigentlich verschollen? Verschollen war es genau genommen nie, denn die Nitratkopien waren ja in den Archiven gestapelt. Allerdings in unkonserviertem und unrestauriertem Zustand. Der Erste Weltkrieg markiert hier einen wirklichen Einschnitt. Es handelt sich hier um zwei Cinema from the era before the First World War is truly a missing continent.

Missing but, fortunately for us, found once more. And otherwise? Very little And besides that? Feature films such as Cabiria or Birth of a Nation and Intolerance But all the rest? The rest was silence. But thanks to the efforts of various film archives and research by historians, the treasures concealed in the depths have re-emerged and come to the surface little by little: films that have not been screened or seen for almost a century. Now, there is only one thing to be done: show them to an audience and allow them to be discovered!

Here, the question could be asked: Why did this cinema disappear? But they were unpreserved and unrestored. No one seemed to have any idea how many films were stored there, or what they were. Even though the surrealists, for example, saved the serial films by Feuillade from oblivion, they allowed his later works to be forgotten.

And the first two decades of film history had to live with this description until their rediscovery at the end of the s. One consequence of this lack of interest in, if not contempt for, these films from the early years is the neglect of their material condition by archives.

The films, whether damaged or undamaged, vegetated in their cases just waiting to fall apart completely. And this was how things stood at the end of the s, when one of us realised, while working for the Netherlands Film Museum, that the entire stock from the s was carefully preserved and catalogued, while the large collection from the previous decades, which is the true treasure of this museum, was not catalogued, not preserved and not restored.

That is how a cultural phenomenon translates into practice, or rather the absence of one. The films of the early years had very little to do with those of the s — and with what was to evolve from them in later decades after the introduction of sound.

The First World War marks a decisive break here. Post-war cinema, like many other fields, could not be compared with pre-war cinema. They were two different types of silent film. After the war, cinema underwent a process of standardisation. One main cause of this was undoubtedly the radical changes in the film industry. While the pre-war era was characterised by a virtual monopoly by French film producers, the centre of production shifted after the war: Hollywood became the hub of global film production.

In brief: after the war, we are in a new era. Here, it can be seen, as in other areas, that the 19th century lasted untilas suggested in the theory put forward by the English historian Eric Hobsbawm.

The cinema of the early years still forms a part of the continuity of the 19th century. Although 10 Years - Various - Wir kommen und werden euch fressen (Cassette) is a mass medium, a medium of the 20th century, it in a way synthesises and summarises the preceding century.

Jahrhundert bis andauerte, wie es die These des englischen Historikers Eric Hobsbawm besagt. Was dieses Kino vor allem kennzeichnet und es grundlegend vom Kino der er Jahre unterscheidet, ist die Tatsache, dass es sich um ein Kino des kurzen Films handelt. Selbst als — insbesondere nach den er Jahren — der Langfilm in Erscheinung tritt, bleibt dieses Kino doch im Wesentlichen den Filmen von kurzer Dauer treu.

Letztendlich ist dies auch ein Kapitel in der Geschichte der Oberhausener Kurzfilmtage. Ganz im Gegenteil, sie scheint weniger ein technischer Zwang als seine Bestimmung gewesen zu sein. Nicht zu vergessen, dass die meisten Romane reich illustriert waren. Der Fortsetzungsfilm ist hier nur ein Beispiel von vielen. These films portray in concentrated form not only a number of popular themes of the 19th century, but also its entire aesthetics and mentality.

The longing for the exotic, the predilection for eclecticism, the need to moralise coupled with an equally great need for diversion, a general curiosity about the world as it is one only has to think of the world expositionsthe passion for travel and enthusiasm for technology What primarily characterises this cinema and sets it fundamentally apart from the cinema of the s is that it is a cinema of the short film. Even when — especially after — feature films appeared on the scene, this cinema remained loyal mainly to films of short duration.

On the contrary, far from being the result of technical necessity, their length seems to be almost predestined. The brevity of the films coheres precisely with the zeitgeist, the aesthetics and mentality of the times.

What has, however, been forgotten is the burgeoning of the one-act play in the field of theatre. Short comedies and sketches once filled revues and variety shows.

In music, this was also the golden era of the chanson: the short form par excellence. And if the need was felt to go into greater detail — for example, to tell more elaborate stories than was possible in short form — things were simply divided up. A novel was published daily in serialised form. Even at a more sophisticated literary level, it was very common to publish works by Stendhal, Dumas, Balzac or Dickens in daily instalments. In the first years of their existence, cinematographers used all of these forms and strategies.

Serial films are just one of many examples. A short remark in passing. The same goes for the short, additive form of the television series. So, to come back to our original question, do we really have cause to be surprised that cinema experts and normal viewers in the s were not capable any more of appreciating these films, let alone of understanding them?

After the war, cinema became standardised to such an extent that feature films, i. This is very different from the cinematographic experience in the early years. Even if fiction played a large role, it was not then the norm. Moreover — and this is the crucial point — a cinema programme always offered a lot of variety. Variety and diversity ruled the day. It was a cinema of attractions, as Gaudreault and Gunning called the productions of the first decade — principally fairground and travelling cinema — but above all a cinema of diversity and diversion.

The compilation of a varied programme was of great importance. Because the films were short, they had to be skilfully combined and matched with each other. Ganz anders das kinematographische Erlebnis der Anfangsjahre.

Auch wenn sie eine wichtige Rolle spielt, ist die Fiktion damals nicht die Norm. Es handelt sich um ein Kino der Attraktionen, wie Gaudreault und Gunning die Produktionen des ersten Jahrzehnts, insbesondere das Rummelplatz- und Wanderkino nannten, aber vor allem um ein Kino der Vielfalt und der Zerstreuung.

Da die Filme kurz sind, muss man sie geschickt kombinieren, einen auf den anderen abstimmen. Kurz: Es entwickelt sich eine wahre Kunst der Programmgestaltung. Die Vielfalt garantiert Zerstreuung. Kurzfilme also, die bei den Kurzfilmtagen in Oberhausen gut aufgehoben sind.

Sie kuratiert Festivals und Ausstellungen, restauriert Filme u. And here — and this, again, is a concomitant phenomenon of the short form — this art of collage, montage, of potpourri, of patchwork, accorded well with the spirit of the times.

Diversity is a guarantee of diversion. So, short films that are in good hands at the Short Film Festival in Oberhausen. Here, we have to do with a cinema that invents itself, that is inventing cinema!

This is not naive cinema, but cinema that is fresh and curious: inebriated, so to speak, by the possibilities offered both by the apparatuses for recording and projecting, and by the moving picture put in a dramatic context. Anything still seems possible — both within the genre and in the approaches to it. Even if early films drew on and were inspired by contemporary performing arts, and made free use of the traditional and established legacy of the 19th century, their completely new outlook, and indeed the insolence with which cinema was made and produced, remain impressive.

The great silent-film cinema of the s seems almost impoverished in comparison, with all the possibilities and new directions that had been discovered by the cinema of the early years repressed and forgotten. The films of the silent-film era reflect a standardisation of cinema. She curates festivals and exhibitions, restores films by Ella Maillart and others and teaches at the University of Zurich. Er entwickelt an inspirie- Eric de Kuyper is an experimental film director and writer.

Imaginaires en contexte. Einige zehntausend. Einige tausend. Wieviel davon zeigen wir in Oberhausen? Etwa hundert. Warum diese und nicht andere und warum so gruppiert und nicht anders? In der kompakten Auswahl wird, hoffen wir, die synchrone Vielfalt richtig wahrnehmbar. Jahrhundert vorstellt.

Diese Produktion als Ganzes ist anonym, seriell, ohne Stars, ohne Meisterwerke. How many films were made worldwide between und ? Several thousand. How many of them are we showing in Oberhausen? About one hundred. Why these films and not others, and why grouped as they are and not differently? A festival programme results on the one hand from real conditions — money, time and time for screening as well are limited — and on the other from a long series of decisions taken by the curators.

Title and subtitle have to be decided upon long in advance. Concretely, we then filled it with films that were mostly made in the yearsas we felt this period was the most interesting and experimental. This compact selection will, we hope, make the synchronic diversity clearly perceptible.

A second restriction: we have taken almost only European or French films in a bid to create a history of film that counterbalances the familiar one dealing with the American pioneers of editing technique, Porter and Griffith. The French film industry was, in fact, the world leader on film markets up until the First World War. This had good reasons: good films. In designing and selecting our programme from the jumble of hundreds of films, we have chosen a similar method to that outlined by Dolf Sternberger in the preface to his wonderful book Panorama or Views of the 19th Century As a whole, this production is anonymous, serial, without stars, without masterpieces.

No short film of these years contains its own entire meaning, for an important part of this meaning was inherent in the function that the film took in the overall programme of a cinema presentation. The inherent incompleteness of the single scenes and their being confused with films as we know them today may be one reason why early cinematography is generally underestimated or even misunderstood.

We are delighted to present these films at the International Short Film Festival Oberhausen; the festival context and the interested audience provide good conditions. We expect something to arise from the macro-programming, from the contrast between the almost exclusively digital productions of the present day and the films of hundred years ago, which clearly only function in a large 35 mm projection.

Their surprising qualities, their astonishing beauty and directness, do not become manifest if they are not shown life-sized. To see them changes our way of seeing. Dolf Sternberger, Panorama oder Ansichten vom Jahrhundert, 1 Dolf Sternberger, Panorama oder Ansichten vom Jahrhundert, 2 Vgl.

We would like to thank all the people and archives involved for their work, help and support. Without them, this complicated project would not have been able to be realised. All programmes are accompanied by the pianist Donald Sosin.

He teaches songwriting and film music workshops at schools and colleges all over the US. Thanks We would like to thank all archives that have made their copies available to be screened in this programme.

In Filmen von vor hundert Jahren sehen wir vergangene Gegenwart. Historisch ist relativ. Films from the first decade of the 20th century demonstrate with impressive clarity what cinematography is about: the sensation of motion, the dimension of time and the presence of absence.

By moving the camera, pan shots and panoramic tracking shots continually change the field of view in the continual flow of time. In transformations, a subsection of the trick scenes, changes take place within a fixed field of view.

The tricks make these movements in the picture independent of real-time and, in the simplest cases, reverse them like the jump from a balcony and back in Kri Kri e il tango. Congruence with real-time or continuity or discontinuity are pure temporal structures; one of them is necessarily present in every moment of film.

In addition to the temporal progression, empathy, anticipation and causal relations can establish internal temporal flows that look forwards or backwards: narrative time. In films from a hundred years ago, we see past presence. At the time, the French Revolution and Napoleon had occurred a hundred years ago, and there is no film footage of these.

There are enactments, a more or less presentified past. This looks very different in andjust six years later. Eine Gelegenheit, sich selber im Film zu sehen. Probably filmed by the operator of a travelling cinematograph during a guest performance and put in the programme immediately for the local audience. The chance to see oneself in a film. Ein Tunnel macht die Eisenbahnfahrt zum New elements constantly enter the moving picture.

A tunnel turns the train ride into a spectacle of light Licht- und Schattenspiel. Fest im Trianon 2. Menuett 3. Imbiss im Freien 4. Blinde Kuh 5. Galantes Stelldichein 6. Die Revolution. Bastillesturm 7. Vor dem Tribunal 9. Das Schafott. Festival in Trianon 2. Menuet 3.

Lunch on the Grass 4. Love Rendezvous 6. The Revolution. Taking the Bastille 7. The Temple Prison 8. Before the Court 9. The Scaffold. Siegfried Kracauer would have liked the shimmer of the leather in the barouche as much as we do. Selbstreflexiv die Machinationen der Fiktion aufzudecken und der Illusion die Luft abzudrehen ist ein Grundverfahren der Komik und darum ein Evergreen im Sortiment.

Im Kontinuum von dokumentarischer Aufnahme, Wirklichkeitsschein und Kartonkulisse verliefen die Grenzen nicht identisch zu heute. Freitag And to our often speechless and astonished pleasure — I would never in my wildest dreams have expected to find a successful film version here on the paradox of the Cretan Epimenides about the lying Cretans. Self-referentially exposing the mechanisms of fiction and taking the wind out of the sails of illusion is a basic comic procedure and thus an evergreen in the assortment.

Local film production was also much longer-lived than had been thought; it gave the audience the opportunity to see itself and us the chance to see what the show booths and fixed cinemas looked like, and where the piano, the generator and the advertising poster were. Within the continuum of documentary footage, the imitation of reality and cardboard sets, the borders were not always the same as they are today.

But what has not changed from to this day is the fact that, whenever an unclothed woman appears, a spot of nonfiction spreads across the film image. Travelling cinematographs were the first large-scale form of cinema. Archiv British Film Institute The local film lived on, taking on fictional and comic aspects. We see his unsuccessful trial shots as an amusing final.

Along with dogs, babies and policemen, state leaders and monarchs are among the natural stars. Das Attentat vom The assassination of the Russian interior minister, Vyacheslav von Plehve, former chief of police and organiser of the Kishinev pogroms, on July 28, was carried out by members of the Social-Revolutionary Party.

Turin, a sequence of reactions of the human subjects to the lens. In this film, he not only shows a naked woman — the point of the exercise — but also himself at work, and his eager clients. Ein Ausschnitt aus einem langen Film mit Fallstudien. Our horror makes us miss important symptoms: windows and a dog give away that the scene was filmed in front of a backdrop outside because of better lighting conditions. An excerpt from a long film with case studies. Nie war Film reicher an Farben und Farbsystemen als im Jahrzehnt von Und wir sitzen im Kino und schauen begeistert.

Old films are thought of as being black and white. But this is only true of the 30 years from to Before then, the black and white positives were mostly coloured — in France, I estimate that this was the case with 70 to 80 percent of the films, using several procedures, some of which could be used in combination. Film was never richer in colours and colour systems than in the decade from The colours are lovely to look at in themselves; they also make the films more easily understood; the sequence of tints creates its own calm rhythm.

We are really amazed that they used to have such colours once. Hier wurden die wechselnden There is a profound affinity between water and film. We are watching; the fire is glowing; they are dancing; the vehicle turns around; it plunges over the rocks.

Petersburg: Die Feuerwehr] [St. Bei den ausfahrenden Wagen ist das Rennen aus Ben Hur nicht fern. Drankov, a successful Petersburg based photographer, turned to cinematography in Military exercises and fire drills were forms of open air spectacles. The fire engines leaving the station evoke the race in Ben Hur. Black and white for the sensation of movement and red tinting for the blaze.

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