Tumbling the world of
Jürgen Fauth's novel Kino.
"An intoxicating Euro-brew, written with enormous skill and dedication." — Frederick Barthelme
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“Well, what do you think of this place–does it make you feel the weight of history, or is it more like a playground?”
Totem and Taboo captures a peculiar trend of saucy men using the slabs as backdrops to lean against, climb upon and provide ironic context for their come hither looks and shirtless poses. (Salon)
@3 months ago with 1 note
Hotel Kaiserhof was a luxury hotel in Wilhelmplatz, Berlin, Germany. It opened in October 1875. On 22 November 1943 the hotel was destroyed during a raid on Berlin; the ruins were completely demolished.
⇨ Sunset Boulevard (1950)
The whole place seemed to have been stricken with a kind of creeping paralysis - out of beat with the rest of the world, crumbling apart in slow motion.
(via bogarted)
Two views of the Grosse Halle at Neubabelsberg.
The house of the Wannsee Conference, where the Nazis agreed on the “Final Solution.”
El Rey Theater, El Rey Food Store, Mobil gas station on Ocean Avenue, looking east near Manor Drive. 1940s
Das Bankett bei Etzel - Die Nibelungen (Fritz Lang, 1924)
The “Tiller Girls” on their way home from the Admiralspalast, in the background the Brandenburger Tor, 1926.
“Howdy, Mr Lang!” Siegfried fights the fearsome friendly dragon in Fritz Lang’s DIE NIBELUNGEN. The German effects crew were very fond of their life-sized mechanical fire-breathing dragon, operated not by pneumatics and remote control, but by a gang of sweltering Germans crowded in the belly of the beast. Not animatronics, so much as Germanimatronics. But! Impressive as the contraption is, one can’t help but feel sympathy for the mighty mythic lizard, innocently lapping at a pool when Siegfried, pig-headedly intent on mayhem, comes gallumphing up and whacks the poor critter with his broadsword. And the reason we feel this way, I suggest, is the overall air of wounded innocence projected by the vast reptile, and this is all because of his eyes. You see, unlike every reptile in the natural world, the monster has been outfitted with two eyes which face front, rather than to the side, giving him stereoscopic vision and making him appear more simian than reptilian as far as his facial alignment goes. While it’s never entirely certain how truly sympathetic Lang intends Siegfried to be (and it’s more than likely that matters of sympathy appeared quite irrelevant to the meister with this particular material), it does seem unfortunate that he’s allowed an inappropriate anthropomorphism to kind of de-fang his reptilian menace. Still, that’s not a mistake he would ever make again. (via Fritz Lang « shadowplay)
On the set of Fritz Lang’s Die Nibelungen.
(via ballubasch)
Berlin 1936, in color.
A still photo is being taken during the shooting of Siegfried’s fight with the dragon on Fritz Lang’s Die Nibelungen.
Postcard of the Wintergarten, Berlin.
In a Berlin Jazz Bar (1930)
“Well, what do you think of this place–does it make you feel the weight of history, or is it more like a playground?”
Totem and Taboo captures a peculiar trend of saucy men using the slabs as backdrops to lean against, climb upon and provide ironic context for their come hither looks and shirtless poses. (Salon)
