nitrate vault daemons
“Emmy Hennings with her Dada Puppets, Spring 1917”

Emmy Hennings was a performer and poet. She was also the wife of celebrated Dadaist Hugo Ball and co-founder of the Cabaret Voltaire.

The following poem is an example of Hennings’ poetry:

Tänzerin

Dir ist als ob ich schon gezeichnet wäre

Und auf der Totenliste stünde.

Es hält mich ab von mancher Sünde.

Wie langsam ich am Leben zehre.

Und ängstlich sind oft meine Schritte,

Mein Herz hat einen kranken Schlag

Und schwächer wird’s mit jedem Tag.

Ein Todesengel steht in meines Zimmers Mitte.

Doch tanz ich bis zur Atemnot.

Bald werde ich im Grabe liegen

Und niemand wird sich an mich schmiegen.

Ach, küssen will ich bis zum Tod.

Dancer

To you it’s as if I was already

Marked and waiting on Death’s list.

It keeps me safe from many sins.

How slowly life drains out of me.

My steps are often steeped in gloom,

My heart beats in a sickly way

And it gets weaker every day.

A death angel stands in the middle of my room.

Yet I dance till I’m out of breath.

Soon lying in the grave I’ll be

And no one will snuggle up to me.

Oh, give me kisses up till death.


http://en.m.wikipedia.org/wiki/Emmy_Hennings#section_1

“Emmy Hennings with her Dada Puppets, Spring 1917”

Emmy Hennings was a performer and poet. She was also the wife of celebrated Dadaist Hugo Ball and co-founder of the Cabaret Voltaire.

The following poem is an example of Hennings’ poetry:

Tänzerin

Dir ist als ob ich schon gezeichnet wäre

Und auf der Totenliste stünde.

Es hält mich ab von mancher Sünde.

Wie langsam ich am Leben zehre.

Und ängstlich sind oft meine Schritte,

Mein Herz hat einen kranken Schlag

Und schwächer wird’s mit jedem Tag.

Ein Todesengel steht in meines Zimmers Mitte.

Doch tanz ich bis zur Atemnot.

Bald werde ich im Grabe liegen

Und niemand wird sich an mich schmiegen.

Ach, küssen will ich bis zum Tod.

Dancer

To you it’s as if I was already

Marked and waiting on Death’s list.

It keeps me safe from many sins.

How slowly life drains out of me.

My steps are often steeped in gloom,

My heart beats in a sickly way

And it gets weaker every day.

A death angel stands in the middle of my room.

Yet I dance till I’m out of breath.

Soon lying in the grave I’ll be

And no one will snuggle up to me.

Oh, give me kisses up till death.


http://en.m.wikipedia.org/wiki/Emmy_Hennings#section_1

Riding the Subway with Stanley Kubrick

As most New Yorkers know, the subway system is the lifeline of New York City.   In 1946 Stanley Kubrick set out as a staff photographer for LOOK Magazine to capture the story of New York City’s subway commuters.

Deleted scene from “A Clockwork Orange” (1971) of Alex stealing the Durango 95.

Deleted scene from “A Clockwork Orange” (1971) of Alex stealing the Durango 95.

A 1939 portrait of Orson Welles
Color carbro print
Credit: Harry Warnecke Studio for The Daily News/National Portrait Gallery

“Employing a special one-shot camera of his own design, Warnecke began producing color images for the Daily News in the 1930s by utilizing the technically demanding, tri-color carbro process—the first practical method for color photography.”

National Portrait Gallery

In Vibrant Color: Vintage Celebrity Portraits from the Harry Warnecke Studio

March 2, 2012 - September 9, 2012 

http://www.npg.si.edu/exhibit/exhwarnecke.html

A 1939 portrait of Orson Welles
Color carbro print
Credit: Harry Warnecke Studio for The Daily News/National Portrait Gallery

“Employing a special one-shot camera of his own design, Warnecke began producing color images for the Daily News in the 1930s by utilizing the technically demanding, tri-color carbro process—the first practical method for color photography.”

National Portrait Gallery

In Vibrant Color: Vintage Celebrity Portraits from the Harry Warnecke Studio

March 2, 2012 - September 9, 2012 

http://www.npg.si.edu/exhibit/exhwarnecke.html

oldhollywood:

Above: Salvador Dali’s design for the deleted ballroom scene in the dream sequence from Spellbound (1945, dir. Alfred Hitchcock) 

Below: Gregory Peck & Ingrid Bergman in the ballroom scene

“In order to create this impression [of oppressiveness and unease], I will have to hang fifteen of the heaviest and most lavish pianos possible from the ceiling of the ballroom, swinging very low over the heads of the dancers. These would be in exalted dance poses, but they would not move at all, they would only be diminishing silhouettes in a very accelerated perspective, losing themselves in infinite darkness.”

[Spellbound producer David O. Selznick, worried about costs, decided to suspend miniature pianos from the ceiling. To correct the consequent problems with perspective, the studio employed forty dwarfs to dance in the scene]

“The miniature pianos didn’t at all give the impression of real pianos suspended from ropes ready to crack and casting sinister shadows on the ground…and the dwarfs, one saw, simply, that they were dwarfs. Neither Hitchcock nor I liked the result and we decided to eliminate this scene. In truth, the imagination of Hollywood experts will be the one thing that will ever have surpassed me.”

-Salvador Dali, Dali News, 20 Nov. 1945

(via)

oldhollywood:

Salvador Dali Ingrid Bergman on the set of Spellbound (1945, dir. Alfred Hitchcock) 

Bergman: “It was a wonderful sequence that really belonged in a museum. The idea for a major part was that I would become, in Gregory Peck’s mind, a statue. To do this, we shot the film in the reverse way in which it would appear onscreen…I was dressed in a draped, Grecian gown, with a crown on my head and an arrow through my neck.”

(via)

oldhollywood:

1-3: Fritz Lang (right) directs Peter Lorre (left) on the set of M (1931), 4: Production sketch by M art director Emil Hasler

(via)

Weegee and woman in a car with mannequins (1951)

Weegee and woman in a car with mannequins (1951)

vanityfair:

New York tabloid photographer Weegee’s pictorial satire was achieved with his hallmark distorted or “elastic” lens techniques—here, one of his friskily fun Hollywood prints from 1953.
Photograph © Weegee/International Center of Photography/Getty Images.

vanityfair:

New York tabloid photographer Weegee’s pictorial satire was achieved with his hallmark distorted or “elastic” lens techniques—here, one of his friskily fun Hollywood prints from 1953.

Photograph © Weegee/International Center of Photography/Getty Images.

universal100:

The Birds: Matte paintings like this one, painted by Albert Whitlock, were part of the visual effects industry before the computer age.  They were often used to piece together components of a scene that were filmed in different locations, or to add special effects to a location where they could not be filmed.  In this case, the explosion in the midst of Bodega Bay was filmed in a different location and the matte stood in for the town.  In reality, although parts of the film were actually shot in Bodega Bay, it never existed exactly as it appears in this matte painting, which was altered to suit director Alfred Hitchcock’s desired vision.

universal100:

The Birds: Matte paintings like this one, painted by Albert Whitlock, were part of the visual effects industry before the computer age.  They were often used to piece together components of a scene that were filmed in different locations, or to add special effects to a location where they could not be filmed.  In this case, the explosion in the midst of Bodega Bay was filmed in a different location and the matte stood in for the town.  In reality, although parts of the film were actually shot in Bodega Bay, it never existed exactly as it appears in this matte painting, which was altered to suit director Alfred Hitchcock’s desired vision.

universal100:

Universal Pictures will be marking its 100th Anniversary in 2012. As Director of Archives & Collections for NBCUniversal, I am charged with keeping a vast record of the amazing work produced by our company. Part of that is also reflecting back on how our illustrious company has evolved over the past 100 years and looking at the tradition of re-imagining our logo to commemorate significant milestones.

I’m excited to share with you a recount of the many evolutions our logo has taken over the years.

Legend has it that Carl Laemmle named the company after seeing a “Universal Pipe Fittings” truck pass by his New York office window.  Though our name may have been inspired by a whim, today Universal is considered a pioneer in cinematic history.  Our logo symbolizes the films we’ve created which have not only impacted millions, but also helped tell the story of filmmaking.

The Universal logo has gone on to change over the years since 1912. From the silent logo of UNIVERSAL FILMS encircling the globe…to the ‘droning propeller plane circling the globe’ that marked the arrival of sound…and finally, to today’s more modern and vivid Universe—the Universal logo has reflected the evolution of film.

Today, we are unveiling the new still of the Universal logo for our centennial and giving you a special look into our logo’s progression over the years.  We thank you for being a part of our history and invite you to join us in the 100th anniversary celebration. It’s going to be an exciting year and I am thrilled to be documenting the entire celebration for our company!

“Die Biene Maja und ihre Abenteuer” (1925)
aka “The Adventures of Maya” 

Directed by Wolfram Junghans

The film was restored by the Kansallinen audiovisuaalinen arkisto in cooperation with the Bundesarchiv-Filmarchiv in 2005.

Synopsis:			
Dramatized documentary, which uses elaborate nature shots to illustrate several scenes from Waldemar Bonsel’s popular book: Set around a beehive, real insects embody little bee Maja, dung beetle Kurt and evil spider Thekla.

Between 1924 and 1925, the biologist and culture-adapted film director Wolfram Junghans, the book in association with Waldemar Bonsels for the cinema. The film’s plot was reworked with live insects, which was reflected in the long production period of almost two years. The silent film in six acts in 1925 and received its premiere in Dresden Capitol especially for his technical achievements good reviews.

“Die Biene Maja und ihre Abenteuer” (1925)
aka “The Adventures of Maya”

Directed by Wolfram Junghans

The film was restored by the Kansallinen audiovisuaalinen arkisto in cooperation with the Bundesarchiv-Filmarchiv in 2005.

Synopsis:
Dramatized documentary, which uses elaborate nature shots to illustrate several scenes from Waldemar Bonsel’s popular book: Set around a beehive, real insects embody little bee Maja, dung beetle Kurt and evil spider Thekla.

Between 1924 and 1925, the biologist and culture-adapted film director Wolfram Junghans, the book in association with Waldemar Bonsels for the cinema. The film’s plot was reworked with live insects, which was reflected in the long production period of almost two years. The silent film in six acts in 1925 and received its premiere in Dresden Capitol especially for his technical achievements good reviews.

Another Dancing Chicken.

mudwerks:

(via PCL LinkDump: Delma’s Dance Hall)

Delma’s Dance Hall - Originally uploaded by Holiday World & Splashin’ Safari

The Dancing Chicken from Santa Claus Land
Another Dancing Chicken.

mudwerks:

(via PCL LinkDump: Delma’s Dance Hall)

Delma’s Dance Hall - Originally uploaded by Holiday World & Splashin’ Safari

The Dancing Chicken from Santa Claus Land

Dancing Chicken in Werner Herzog’s “Stroszek” (1977)

Dancing Chicken in Werner Herzog’s “Stroszek” (1977)

vintagegal:

Webb’s City’s Dancing Chicken, St. Petersburg, Florida. c. 1975

vintagegal:

Webb’s City’s Dancing Chicken, St. Petersburg, Florida. c. 1975