#max werner

[folkdevilism]

𝓝osferatu + Hats

[maxliamsource]

📷 werner_bronkhorst

[germanpostwarmodern]

Chapel (1961-63) of the St Klemens School Campus in Ebikon, Switzerland, by Max & Werner Ribary

[paulorlac]

hello cabinet of dr caligari fans I invite you to watch this totally normal spongebob clip

[mountain-sage]

" On the deepest level, much deeper than atoms or quantums, is NOTHING at all. The crazy thing is that this "NOTHING" creates EVERYTHING from moment to moment.Complete universe is created moment by moment, constantly. All comes out of this "NOTHING", comes from "EMPTINESS", which outside any usual understanding.We are part of an endless " New-creation" in every moment."

Prof. Hans - Peter Dürr

*****

"[T]here is a universal flux that cannot be defined explicitly but which can be known only implicitly, as indicated by the explicitly definable forms and shapes, some stable and some unstable, that can be abstracted from the universal flux. In this flow, mind and matter are not separate substances. Rather, they are different aspects of our whole and unbroken movement."

David Bohm

*****

"Whence come I and whither go I?

That is the great unfathomable question, the same for every one of us. Science has no answer to it."

Max Planck

*****

" What we observe as material bodies and forces are nothing

but shapes and variations in the structure of space."

Erwin Schrödinger

*****

"I want to know how God created this world. I am not interested in this or that phenomenon, in the spectrum of this or that element. I want to know his thoughts.

The rest are details."

"I see a pattern, but my imagination cannot picture the maker of that pattern. I see a clock, but I cannot envision the clockmaker. The human mind is unable to conceive of the four dimensions, so how can it conceive of a God, before whom a thousand years and a thousand dimensions are as one? "

"We know nothing about [God, the world] at all. All our knowledge is but the knowledge of schoolchildren.

Possibly we shall know a little more than we do now. but the real nature of things, that we shall never know, never."

Albert Einstein

*****

"The existing scientific concepts cover always only a very limited part of reality, and the other part that has not yet been understood is infinite. Whenever we proceed from the known into the unknown we may hope to understand, but we may have to learn at the same time a new meaning of the word 'understanding'"

Werner Heisenberg

[cantsayidont]

So, let's say you've endured the awful 2024 Robert Eggers remake of NOSFERATU (my condolences) — OR, you were curious about it, but have so far managed to avoid it. Here's what you should see next if you watched the Eggers atrocity (or instead, if you haven't):

NOSFERATU, PHANTOM DER NACHT (NOSFERATU THE VAMPYRE) (1979): Languid, magnificently composed Werner Herzog spin on DRACULA — like the Eggers film, a loose remake of the 1922 silent, which was a Germanized adaptation of DRACULA — starring Klaus Kinski as the pathetic, infinitely lonely Dracula, an embodiment of plague whose coming brings not only death, but the collapse of social order, with Isabelle Adjani at her most achingly beautiful as the frightened but ultimately heroic object of his lust and instrument of his destruction, and Bruno Ganz as the hapless, doomed Jonathan. Herzog situates the story's horror very differently than most DRACULA stories: The scariest thing in the film is not Dracula, but rather the slow, implacable advance of time, against which both the living and the undead are powerless. Herzog's existentialist themes largely mute the 1922 film's antisemitism, and the 1979 film takes a rather more ambivalent attitude toward the original's themes of Christian martyrdom. CONTAINS LESBIANS? No. VERDICT: Not to every taste, but a legit masterpiece, clearly superior to both the Murau silent and the agonizing 2024 film.

DRACULA (1979): Romanticied '70s update of the Hamilton Deane/John L. Balderston play that was the basis for the 1931 movie, starring an extremely cunty Frank Langella as Dracula, with such swag that he scarcely needs to hypnotize anyone. Like Herzog's NOSFERATU, released the same year, it transposes Mina (Jan Francis) and Lucy (Kate Nelligan), for no obvious purpose. Nelligan is okay and Langella is fabulous, the diametric opposite of Klaus Kinski in NOSFERATU, but Laurence Olivier (as Van Helsing) and Donald Pleasance (as Seward) are very hammy, and the story is let down somewhat by some unnecessary contrivances and a foolish new ending. CONTAINS LESBIANS? No. VERDICT: Worth seeing for Langella, who really redefined "sexy Dracula" for the modern age, although a mixed bag as a complete film.

SHADOW OF THE VAMPIRE (2000): Unique, deliciously eccentric fictionalized version of the making of the 1922 NOSFERATU: Imperious control-freak director F.W. Murnau (John Malkovich) sets out to film an unauthorized screen version of Bram Stoker's DRACULA with the character names changed, informing his cast and crew that the vampiric Count Orlock will be played by an obscure theatrical Method actor (Willem Dafoe), who insists on remaining in character at all times. Before long, some of the crew start to fear that Murnau may have taken his commitment to authenticity a little too far — and what, exactly, has he promised to pay his star? At once an homage, a parody, and a pastiche of NOSFERATU (it will play better if you've seen at least one of the three versions), anchored by Dafoe's brilliant comedic performance: Much of the suspense hinges on the uncertainty about whether he's an eccentric weirdo, a dangerous monster, or both. The film's main weakness is Cary Elwes as cinematographer Fritz Arno Wagner; Elwes' ludicrous attempt at a German accent is the film's truest horror. CONTAINS LESBIANS? No. VERDICT: A delightfully weird horror-comedy.

I'm a little reluctant to recommend the original 1922 silent (which is in the public domain in the U.S. and easy enough to access) — whatever its bona fides as an early horror film, watching it is very uncomfortable if you recognize that the way the film depicts Orlok is essentially a distillation of a century's worth of ugly antisemitic caricature, so it might as well be BLOOD LIBEL: THE MOTION PICTURE. (DRACULA is itself a rather racist story, but the 1922 NOSFERATU is worse, and the Eggers film is as well.)

[deutschland-im-krieg]

48 victory ace and Pour le Mérite (Blue Max) holder Leutnant Werner Voss, a truly sensational pilot and Jastaführer of Jasta 10 in front of his famously decorated Fokker F.I triplane (103/17). This was one of two pre-production models, the other being given to Manfred von Richthofen, aka The Red Baron. Voss was killed in this aircraft during the greatest dog fight of the war against seven British planes at the same time. He is not wearing his Blue Max in this photo/ For more, see my Facebook group - Eagles Of The Reich

[princess-josie-riki]

The Multiverse Five as the Ghosts of Christmas

Here is my take on the Multiverse Five as the Ghosts of Christmas from A Christmas Carol.

Cragsters Max and Werner Werman as the Ghosts of Christmas Past

Usagi Tsukino and Madoka Kaname as the Ghosts of Christmas Present

Nightmare Fredbear as the Ghost of Christmas Future

Here is the alternate coloring of Usagi and Madoka if anyone's interested…

A Christmas Carol (c) Charles Dickens

Mixels (c) John Fang, David P. Smtih, Lego and Cartoon Network

Cuphead (c) Chad and Jared Moldenhauer and StudioMDHR

Sailor Moon (c) Naoko Takeuchi, Kodansha and Toei Animation

Puella Magi Madoka Magica (c) Magica Quartet, Shaft and Aniplex

Five Nights at Freddy's 4 (c) Scott Cawthon and Steel Wool Studios

Idea and artwork (c) me

[per-asperaa-ad-astra]

I think everything is real, but it seems to be in a different location by the time we perceive it. It's not exact; it's perfect, but our perception of it as such is just an interpretation of what has already passed.

[churchofsatannews]

The Metro #686

This week on The Metro, Rev. Jeff Ivins brings you the following artists for your weekly time travel to the 1980s: Boris Gardiner, Kate Bush, Robert Palmer, U2, Sid Vicious, Paul Hardcastle, A Flock Of Seagulls, Bryan Ferry, Greg Kihn, Humans, Fun Boy Three, Madness, Public Image Ltd., Max Werner, and finishing off with Julian Lennon. Stream The Metro #686. Download The Metro #686.

[sisionscreen]

Pauline Werner and Max Hubacher as Walli and Gustav in new stills from the third season of Sisi (2021).

[maxliamsource]

🎥 werner_bronkhorst

[germanpostwarmodern]

Chapel (1961-63) of the St Klemens School Campus in Ebikon, Switzerland, by Max & Werner Ribary

[randomrichards]

INVINCIBLE (2001):

Young Jewish blacksmith

Portrays aryan strongman

Boss appease Nazis

[godlessriffs]

As some of you may know, the original 1922 version of Nosferatu is my favorite vampire movie and one of my favorite films in general. Now they're about to drop a brand new remake of it. Now, the way I see it, any time you remake a movie, especially a classic one, it's important that the resulting film bring something worthwhile to the table. What does this new film have to say that previous versions didn't? What fresh new angle(s) does it display? What new freedom from censorship does it exploit? What weaknesses in earlier versions does it improve upon? In short, why do we need this film? In my opinion, Nosferatu got the only remake it will ever need when Werner Herzog made his version in 1979. However, I'm open to the possibility that Robert Eggers might convince me otherwise. That said...

1) Advance reviews I've seen have been uniformly positive, harping on the great story, the top notch acting, and the gorgeous visuals. I'll have to see the movie before I can form an opinion about the former two, but I have to say it: I hate the way movies look these days, especially sci-fi and dark fantasy films. Gaudy visual effects that make me wish CGI had never been invented. Horribly overprocessed cinematography that's been tweaked in post so much that even scenes with no visual effects look fake, making me wish the digital camera had never been invented. And, speaking of which, camera work that can't sit still; if it's not "cinema verite" shakycam it's the constant dollying back and forth, side to side, around this, over that, and through the other. And from what little I've seen from the trailers I don't think this film is going to break that trend.

2) I'm not sure the marketing decision to keep Bill Skarsgård's vampire makeup under wraps until the premiere was a wise one. The risk they're running is that the reveal had better be awesome or it's going to be a letdown; no middle ground is possible. The last movie I remember relying so blatantly on the "hide the monster" gambit was the Devlin/Emmerich Godzilla from 1998, and I think we all remember how that turned out.

3) I have, on the other hand, heard the clip of Skarsgård's voice as Count Orlock, and, frankly, I think it sounds absolutely ridiculous. It's like he's doing an over-the-top impersonation of Darth Sidious. Why do people think that shit sounds scary? Watch Herzog's version; Klaus Kinski came across as creepy and evil and dangerous just through his performance without any extraneous vocal affectations.

[deutschland-im-krieg]

48 victory ace and probably the second best German pilot of the Deutsche Luftstreitkräfte behind the great Oswalde Boelke, Leutnant Werner Voss. He is wearing the Pour le Mérite (The Blue Max), the Knight’s Cross of the Order of the House of Hohenzollern, the Iron Cross 1st Class and the Pilot’s Badge.

On 23.9.1917, Leutnant Werner Voss, Jastaführer of Jasta 10, was shot down during a battle which lasted at least eight minutes and involved seven British pilots, themselves aces. Though Voss' machine gun fire damaged most of his opponents' aircraft, his own was hit by fire from at least two of the British aircraft. Voss was struck by three bullets.

His airplane, one of two prototype Fokker F.I triplanes (103/17), went into a steep dive and crashed north of Frezenberg, Belgium and Voss was killed. 57 victory ace Major James Thomas Byford McCudden, VC, DSO and Bar, MC and Bar, MM, one of the British pilots involved in the dogfight, later said of Voss:

"As long as I live I shall never forget my admiration for that German pilot, who single-handed fought seven of us for ten minutes and also put some bullets through all our machines. His flying was wonderful, his courage magnificent, and in my opinion he was the bravest German airman whom it has been my privilege to see fight". For more, see my Facebook group - Eagles Of The Reich