#Berlin Zoological Gardens

[henk-heijmans]

Celebrities snapped, Berlin Zoological Garden, 1930 - by Friedrich Seidenstücker (1882 - 1966), German

[wikipediapictures]

Berlin Zoo

“Elephant Gate to the Zoo in Berlin (Germany).” - via Wikimedia Commons

[semioptera]

Toque Macaque (Macaca sinica) - Berlin Zoological Garden, Berlin, Germany

[mariacallous]

“If it should be, and he came to London, with his teeming millions. … There may be a solemn duty; and if it come we must not shrink from it.”—Bram Stoker, Dracula

A vampire must avoid direct sunlight to avoid crumbling into ash, yet few folk horrors have been subject to more scrutiny than the transformative bloodsuckers who dominate the night. A new and absolutely terrific cinematic take on the myth, Robert Eggers’ Nosferatu, has hit theaters, and its most notable element, in addition to outstanding performances, dialogue, and production design, is that this new version really amps up the lusty goth quotient. (So much hallucinatory writhing and moaning!) However, its release so close to the inauguration of a U.S. president who has stoked fears of immigrants draws out xenophobic elements inherent to the text, and an inner tension with its own reactionary origin is part of the genius of this new film.

If you aren’t a subscriber to Fangoria magazine, you may not know the Nosferatu backstory. The first version, released in 1922, is a landmark of German filmmaking that plundered intellectual property as if it were the grave of a Victorian noblewoman buried with her jewels—a fate some of the characters in Dracula think has befallen poor Lucy Westenra, before it is revealed she is actually an accursed undead demon!

Unlike his most famous literary creation, though, Irish-born writer Bram Stoker does not walk the earth a century after his death. As such, the theater manager who wrote books on the side would likely be surprised at the strength of his legacy. Dracula, published in 1897, was only a modest success at the time. It was not even the first book about vampires published in English; how it became the wellspring for vampire iconography—to the point that is used to sell breakfast cereal—is perhaps due to vivid, dueling film interpretations.

In 1921, a German film producer with an interest in the occult created a new studio (Prana) with an eye toward making supernatural-themed films, and kicked things off with an adaptation of Dracula. He hired Henrik Galeen, who co-wrote the outstanding expressionist The Golem: How He Came Into the World, to write the screenplay, and F. W. Murnau—who would later make Sunrise: A Song of Two Humans, one of the undisputed masterpieces of silent cinema—to direct. But he did not pay for the rights to Bram Stoker’s book. Instead, Galeen changed the names of the characters (Count Dracula to Count Orlok) and the location (London to Wisborg, a fictional German city), and made some additional tweaks to the narrative. The title, Nosferatu, is a word used in Dracula to categorize vampires, meaning undead. (The etymology of this word remains debated, but it may have its roots in the Greek nosophoros, meaning “disease-bearing.”)

Nosferatu: A Symphony of Horror was released to significant acclaim, but one person who wasn’t happily chomping on popcorn was Florence Balcombe, Bram Stoker’s widow. An anonymous informant sent her a handbill from the movie’s lavish premiere at the Marble Hall of the Berlin Zoological Gardens. The promotional material boasted that the film was “freely adapted” from Dracula. Balcombe took this to court, won her case, and bankrupted Prana, which was ordered to destroy every copy of Nosferatu. Clearly, this did not happen, as you can still watch the movie today—and, despite the iffy ethical origins, you should; it’s terrific.

But what Balcombe did next was key. Springboarding off the increased interest in the story (and to guarantee proper payment on copyrighted material), she greenlit a stage production. The show ended up being a hit in London in 1927, then moved to New York later the same year. That version starred Bela Lugosi. Four years later, Lugosi reprised the role for Tod Browning’s film version for Universal Pictures, the first talkie in the Universal Monsters series. It was a sensation, and Lugosi’s sharp-toothed Transylvanian is now an early screen icon on par with Chaplin’s Little Tramp.

Other Dracula movies were soon in the works—a Spanish-language version was actually shot concurrently with Browning’s, using the same sets—and have never stopped. Hammer Studios in Britain made several classics starring Christopher Lee; there’s the Andy Warhol-presented Blood for Dracula; the disco era’s comedy Love at First Bite; Francis Ford Coppola’s stylistic version from the 1990s; and then there’s Adam Sandler’s Hotel Transylvania cartoons. Moreover, Lugosi knew a good gig when he saw it. The actor reprised his role for comedy (Abbott and Costello Meet Frankenstein—and also the Count!) and special appearances (a gig on Fred Allen’s top rated Texaco Star Theater radio show is just one example), and also starred in several Dracula-esque horror titles like The Devil Bat. While Lugosi’s lines from Dracula were instantly quotable (“I never drink … wine” is certainly my favorite), behind it all was the less hokey, dreamlike silent film version of Nosferatu, sprung from illicit origins and filled with striking sinister imagery.

Shadow of the Vampire, released in 2000, imagines that the original production was cursed because actor Max Schreck, who played Count Orlok, was truly a vampire. (Willem Dafoe was nominated for an Oscar for his performance of Schreck in this behind-the-scenes comedy, which is especially amusing because he plays the part of Prof. von Frantz, a spin on Stoker’s Dr. Van Helsing, in the new film.) Shadow of the Vampire’s premise—the cover up of an unsettling (fictional) aspect of the original Nosferatu—works because, while the intentions of Murnau and company are hard to know, it is easy to see how German audiences of the 1920s could read Nosferatu as antisemitic.

The film and its source material read like a laundry list of antisemitic tropes: The Count comes from “the East,” a backwards, superstitious land. (Transylvania, while certainly a real place, means “beyond the woods.”) He has somehow amassed a fortune despite living apart from the villagers who fear and despise him. He is a non-metaphorical bloodsucker. When he gets to civilization, he immediately starts preying on women. In most versions of the story, the first woman he assaults turns into a vampire herself, then starts draining the blood of babies and children, recalling the many examples of supposed blood libel used to excuse antisemitic violence throughout the previous centuries. When the character of Mina Harker (called Ellen Hutter in Nosferatu) is finally penetrated by the count, she declares that her blood is “unclean.” The Count’s curse demands that he sleep each night in the earth of his origin, but he comes up with a sneaky loophole by packing several coffins filled with Transylvanian dirt. One way to interpret the Count’s actions is metaphorical: The immigrants are unwilling to assimilate and they taint our family lines and drag their traditions along with them from the old country. But on a much more literal level, it is quite bluntly blut und bloden, blood and soil, a Nazi rallying cry since the 1920s that, unfortunately, persists to this day.

While these symbolic plot elements exist in the 1897 novel, it was the 1922 German film that dialed them up, adding some undeniable antisemitic visual tropes. Count Orlok, compared to the Spirit Halloween-ready Count Dracula, has a hooked nose and rodent-like clutching hands, an exaggerated reinterpretation of the Count’s features compared to how they are described in Stoker’s book. (Lugosi’s Dracula from 1931 eases up on the visual stereotypes considerably, but he does wear a six-pointed star the first time we see him.)

Murnau also added a plague element to Nosferatu’s storyline. When the Count’s ship comes to Wisborg, it arrives with rats and a rapidly spreading sickness. This “verminization” goes hand-in-hand with the notion of the “dirty Jew.” It is believed that Julius Streicher, editor-in-chief of the Nazi mouthpiece Der Stürmer, was a fan of the film, and Hitler himself, in Mein Kampf, compared Jews to vampires.

So hold on a second, you are telling me that a major motion picture studio has released a work of antisemitic propaganda, and it’s in theaters right now? Do I need to send an angry letter? No, not at all. Please do not cancel Robert Eggers, one of the more brilliant directors on the scene today, whose take on Nosferatu tamps down the antisemitism. (This is his fourth film, following The Witch, The Lighthouse, and The Northman, all very sharp plays on genre storytelling, and all worth watching.). Now, Count Orlok just has a weird and striking nose, not a hook nose. He is also less of a schemer. He is compelled to come to Wisborg, as if it is part of his burdensome curse. If one were to ask, “Why make this movie again?” I’d say that, apart from the exemplary sets and performances and cinematography, Eggers emboldens the supernatural, psychosexual connection between the Count and Ellen. Yes, the town leaders of Wisborg—ostensibly the heroes—remain understandably xenophobic. But Eggers adds a top layer of tragedy, by making the subtext text: The Count and Ellen should be able to get their telepathic freak on, but the social codes of the 1830s are so stifling that even the Prince of Darkness can’t fight them. This creates a tension to the story (and its anti-immigration strain) that feels entirely new.

Considering that hardly anyone watching the new Nosferatu will be unfamiliar with vampire tropes, Eggers is well within his rights to essentially copy-paste elements from the more problematic version and build on it. The added shading, leaving the audience wondering if maybe the Count isn’t such a villain, is enough nuance to keep this from feeling like a definitive political statement. After all, the first thing you’ll likely talk about after seeing it is Ellen’s (Lily-Rose Depp) several moments of bed-ridden, prurient murmuring “he’s coming!” from a dream-like haze. For a director who has made three sharp movies dealing with the supernatural or fantastic, this story is in Eggers’ blood.

10 Vampire Streaming Recommendations

Nosferatu: A Symphony of Horror (1922), dir. F.W. Murnau: The original nightmare.

Dracula (1931), dir. Tod Browning: The birth of a franchise. Warning: Though there are many classic moments, much of this movie is dull.

Dracula Has Risen from the Grave (1968), dir. Freddie Francis: The third Christopher Lee Dracula picture, and one that likely influenced the new one—as it was, for its time, a bit on the randy side.

Blacula (1972), dir. William Crain: An 18th century African prince is transformed into a vampire by Count Dracula himself, and ends up in 1970s Los Angeles. Released during the first wave of blaxploitation films, this was the first one to get supernatural.

Love at First Bite (1979), dir. Stan Dragoti: The Count comes to groovy New York and is faced with nonstop schtick. Richard Benjamin plays the famed vampire hunter Van Helsing’s grandson, a neurotic shrink named Dr. Jeffrey Rosenberg.

Nosferatu the Vampyre (1979), dir. Werner Herzog: Before Eggers, there was this German-language take focusing on Count Orlok. A slow-paced film that goes heavy on the plague storyline, featuring a substantial number of rats.

Bram Stoker’s Dracula (1992), dir. Francis Ford Coppola: Gen X Dracula, with Winona Ryder, Gary Oldman, and Keanu Reeves.

Thirst (2009), dir. Park Chan-wook: Not a Dracula film, but an unpredictable spin on the vampire myth from one of South Korea’s great filmmakers.

Only Lovers Left Alive (2013), dir. Jim Jarmusch: Cinema’s king of deadpan cool presents artists and rock musicians as vampires eternally on the fringes of society. (A documentary?)

El Conde (2023), dir. Pablo Larraín: Perhaps of particular interest to Foreign Policy readers, this Spanish-language picture, available on Netflix, suggests that Augusto Pinochet was actually a vampire, and takes it from there.

[cypherdecypher]

Animal of the Day!

Caspian Tiger (Panthera tigris virgata)

(Photo from Berlin Zoological Garden)

Extinction Date- 2003

Habitat- Middle East; Central Asia

Size (Weight/Length)- 230 kg; 3 m

Diet- Large mammals

Cool Facts- Caspian tigers were the second largest subspecies of tiger. They were made for rocky or forested steps by the Caspian Sea. These tigers were thought to follow migratory herds of deer or pigs. The downfall of the Caspian tiger began when Russia colonized Turkey. Tigers were shot out of fear, diseases swept through the population, and their natural habitat was converted into cotton plantations. The last wild Caspian tiger was captured and killed in 1997. Conservation efforts were attempted, but outside of legal protections little was done to restore their habitat or promote breeding attempts. Today, 6 tiger subspecies remain and all are endangered. Luckily, zoos are working to create captive breeding programs and national parks protect these magnificent creatures.

Rating- 12/10 (Most closely related to the Amur tiger.)

[doubtspirit]

August Beck, The Zoological Garden in Cologne. Views of various buildings according to the plan and information of the director Dr. Bodinus, 1860, lithograph and published by Weber and Deckers, Cologne 1860, Cologne City Museum – Graphic Collection. Copyright ©2010 Rheinisches Bildarchiv, Cologne

Opened on July 22, 1860, the Cologne Zoo is the third oldest zoo in Germany (after Berlin and Frankfurt/Main).

[natelm2nd]

I am employed at the Berlin Zoological Garden in the Big Fuzzy Carnivores area in the 2010s. That's right, I'm serving Knut!

Due to a misspelling on my part while writing down a wish I wanted the djinni to grant me, I have been transported back in time and turned into a servant of the king of England, Denmark, and Norway

[lilacthebooklover]

LILAC, WE MUST GO BACK IN TIME AND PREVENT 1928. WE MUSTN'T ALLOW THEM TO ENTER THE BERLIN ZOOLOGICAL GARDEN. WE NEED TO SAVE THEM LILAC. WE NEED TO SAVE THEM.

preparing the time machine as we speak

[sharky-the-idiot]

WE NEED TO STOP THEM SHARKY. WE HAVE TO STOP 1928. WE MUST TRAVEL BACK IN TIME AND PREVENT THEM FROM ENTERING THE BERLIN ZOOLOGICAL GARDEN. THE ZEBRAS SHARKY, THINK OF THE ZEBRAS

What

[theinkbunny]

THE ZEBRAS INK, THE ZEBRAS. WE CAN'T LET THEM ENTER THE BERLIN ZOOLOGICAL GARDEN. WE NEED TO STOP 1928 FROM HAPPENING AGAIN

What the fuck happened ??!!!-!-!!!!??????

[mysticcollector-things]

TOP 5 Places to Stay in Berlin

Berlin, the capital of Germany, is known for its rich history, contemporary art and picturesque parks. This city offers many unique places for recreation and entertainment. Let's dive into the world of the best places to stay in this unique city. Check out our guides at the https://guides2travel.com/ for more info.

Brandenburg Gate

The Brandenburg Gate is not just an architectural marvel, but also a symbol of unity and peace. Built in the 18th century, they have survived many historical events, witnessing both tragic and joyful moments in German history. This place is ideal for history and architecture lovers.

Around the gate there are many cafes and restaurants where you can enjoy traditional German cuisine or just drink a cup of coffee while admiring the historical monument. In the evening, the gates are illuminated, creating an incredibly beautiful and romantic atmosphere.

Museum Island

Museum Island is a unique collection of world museums located in the heart of Berlin. There's something for everyone here, from Ancient Egypt in the New Museum to European painting in the Old National Gallery. Museum Island is part of a UNESCO World Heritage Site, indicating its unique cultural value.

As you walk around the island, you can also enjoy views of the Spree River and the architecture of the surrounding buildings. This destination is ideal for art and history lovers, as well as those seeking tranquility and inspiration among cultural treasures.

Tiergarten Park

Tiergarten Park is the green heart of Berlin and an ideal place for relaxation and nature walks. Here you can have a picnic, ride a bike or just stroll along the picturesque alleys. The park is known for its ancient trees, ponds and green lawns, creating a sense of privacy among the bustle of the city.

Tiergarten is also home to the Berlin Zoological Garden, one of the oldest and most diverse zoos in the world. A visit to the zoo is a great idea for a family vacation or just for those who love animals.

Potsdamer Platz

Potsdamer Platz is a modern and dynamic place, famous for its high-rise buildings, cinemas and shopping centers. This square is a symbol of the rebirth of Berlin after the fall of the Berlin Wall. It is home to many cultural institutions, offices and entertainment venues, making it an important destination for business and leisure.

Potsdamer Platz is constantly hosting various events and festivals, making it an ideal destination for those who want to experience the pulsating rhythm of modern city life. The restaurants and cafes here cater to all tastes, offering both local and international cuisine.

Eastern Gallery

The Eastern Gallery is one of the most famous and significant street art sites in the world. Situated on a remaining section of the Berlin Wall, this gallery is a true open-air museum. It features works by artists from around the world, each of which tells its own story and reflects the historical significance of the wall.

A visit to the Oriental Gallery is not only an opportunity to see outstanding works of street art, but also to immerse yourself in Germany's recent history. This place is especially popular among young people and art lovers, and is one of the most photographed attractions in Berlin.

Each of these places offers a unique experience and allows you to see Berlin from different perspectives. From historical monuments to modern entertainment venues, Berlin is sure to offer something interesting for every visitor.

[bedofrosesfamily]

We elected to take a somewhat spontaneous vacation to Germany, reckoning this would be our last chance to travel before Juniper became too demanding. However, she took this trip as an opportunity to transition from an infant to a toddler.

In spite of her newfound appetite for autonomous locomotion, the baby traveled pretty well on this trip, tolerating the long international flight as well as all the trains, trams, and buses to which she was subjected. She made friends wherever we went, exchanging waves and claps with innumerable Germans and charming them with her irresistible smile.

Our first stop was Berlin, where we mostly stuck to a shrewd itinerary of parks and beer gardens. Junebug also waved at all the animals in the Berlin Zoological Garden, but sadly none of them waved back.

We attended a conveniently timed kite festival in Tempelhofer Park (formally a military airport), which Juniper found quite inspiring.

In a food market called Markthalle Neun, we stumbled upon a sort of infant playspace that gave Juniper a chance to let loose and interface with some surly German babies.

We took several tours, but mostly just strolled around to see the sights. Juniper speaks about as much German as we do, and maybe even a little bit more, but we managed to get by with the two German words we mastered (and by the fact that everybody speaks fluent English).

After four enchanting days in Berlin, it was off to Dresden.

[gentlyepigrams]

Nosferatu had its premiere at the Marmorsaal in the Berlin Zoological Garden

[photokotek]

Tiger (Panthera tigris) with ball, Berlin Zoological Garden, Berlin, Germany

[miguelvillalobos]

BERLIN BY MIGUEL VILLALOBOS.

[kombination-of-lifes]

📍Berlin Zoological Garden, Germany 🇩🇪