Question: Which film whose producer was born first, Berlin: Symphony Of A Metropolis or The Outer Space Connection?

He was the founder and CEO of the Landsburg Company and was involved in producing over fifty movies of the week. He had over 2000 hours of television production experience. Alan William Landsburg( May 10, 1933 – August 13, 2014) was an American television writer, producer, and director. <SEP> Greg A. Hill is a Canadian- born First Nations artist and curator. He is Kanyen'kehaka, from Six Nations of the Grand River Territory, Ontario. <SEP> Wale Adebanwi( born 1969) is a Nigerian- born first Black Rhodes Professor at St Antony's College, Oxford. <SEP> Composer Edmund Meisel was commissioned to write an orchestral score for its original release. The film is an example of the 'city symphony' film genre. It portrays the life of a city, mainly through visual impressions in a semi-documentary style, without the narrative content of more mainstream films, though the sequencing of events can imply a kind of loose theme or impression of the city's daily life. Other noted examples of the genre include Charles Sheeler and Paul Strand's "Manhatta" (1921), Alberto Cavalcanti's "Rien que les heures" (1926), Andre Sauvage's "Etudes sur Paris" (1928), Dziga Vertov's "Man With a Movie Camera" (1929), Adalberto Kemeny's "São Paulo, Sinfonia da Metrópole" (1929) and Alexandr Hackenschmied's "Bezúčelná procházka" (1930). Berlin: Symphony of a Metropolis or Berlin: Symphony of a Great City  is a 1927 German silent film directed by Walter Ruttmann, co-written by Carl Mayer and Karl Freund. This film represented a sort of break from Ruttmann's earlier "Absolute films" which were abstract. Some of Vertov's earlier films have been cited as influential on Ruttmann's approach to this film, and it seems the filmmakers mutually inspired one another, as there exist many parallels between this film and the later "Man With a Movie Camera". The film displays the filmmaker's knowledge of Soviet montage theory. Some socialist political sympathies, or identification with the underclass can be inferred from a few of the edits in the film, though critics have suggested that either Ruttmann avoided a strong position, or else he pursued his aesthetic interests to the extent that they diminished the potential for political content. Ruttmann's own description of the film suggests that his motives were predominantly aesthetic: "Since I began in the cinema, I had the idea of making something out of life, of creating a symphonic film out of the millions of energies that comprise the life of a big city." These films were conceived of in the mid to late 1920s amongst the "artistic" writers and filmmakers (Usually when gathered in open coffeehouse discussions as they toiled at their craft) as an avant-garde, "new style" of early filmmaking that evolved from a script-free open narrative form that sought to show a clearer, less cluttered view of the world free from a real storyline or rigid structure. Although these films were often edited to give them some structure and a pleasing aesthetic value they evolved into what was later the "travelogue" film which also remained popular for a time. What made them very popular for urban audiences was that these films were often shot in their home cities showing easily recognizable landmarks and if one was lucky enough he or she may see someone they know up on the big screen or even get to see themselves on film. What is critically interesting about this particular film shot in Berlin, Germany is the time when it was made; years before any real National Socialist influence and well before Joseph Goebbels' Propaganda Ministry took over all German film production which stalled true creativity and forced the most artistic talent from the country. Today it is watched not for its onetime artistic or style value but as a type of filmed "time-capsule" an invaluable historical filmed record of the great city of Berlin in the mid to late 1920s, soon to die. Over 30% of central Berlin was leveled by the end of World War II, changing the face of old Berlin forever. The Anhalter Bahnhof train station in central Berlin appears in the film. So does the Hotel Excelsior, once the largest hotel in Europe, located across the street from the station and connected to it by a tunnel. Neither building survived the war. <SEP> Freund was an innovator in the field of cinematography and is credited with the invention of the unchained camera technique. Karl W. Freund, A.S.C. (January 16, 1890 – May 3, 1969) was a German cinematographer and film director best known for photographing "Metropolis" (1927), "Dracula" (1931), and television's "I Love Lucy" (1951-1957). <SEP> This documentary was the last in a trilogy of ancient astronaut documentaries produced by Landsburg. This film was one of the last projects that Rod Serling worked on prior to his death in 1975. The Outer Space Connection is a 1975 documentary film produced by Alan Landsburg, directed by Fred Warshofsky and narrated by Rod Serling.