Tag: curiosity

… That Becomes Even Stranger

The mentioned “Aktwerk” contains 24 photographs by 14 different photographers, all names unknown to me – here’s the list : Willy Zielke (3), Heinz von Perckhammer, Bruno Schultz (8), Carl Semon, Alfred Grabner, Viktor Hayd, Trude Fleischmann, Max Rothkegel, Franz Grainer, Heinz Hajek-Halke (2), Franz Kepler, Ewald Hoinkis, Ursula Lang-Kurz und Heinrich Iffland.
I looked through the names and read wikipedia-articles, as far as they exist, and the last one – yes, I do lists from behind, the “wrong” way ; I simply do this, I can’t explain – and the last one was Willy ZIELKE (Ger.) (1902-1989) “…. photographer … expressionistic … who did “Das STAHLTIER” …” – ?
What ?
I thought I knew the canon of expressionistic German fillums from the 1920s & 1930s, but this one had escaped me. Also ZIELKE’s biography. He learned in Munich at the Staatslehranstalt für Lichtbildwesen in 1923 and 1924 (what later became the Fachakademie für Fotodesign), and was teaching there from 1928 until 1936. He took part in the Werkbundausstellung “Film und Foto” and so became known to a wider audience. In the early 1930s he started to make films, his first independent solo work was “Arbeitslos – Ein Schicksal von Millionen” (Unemployed – One of Millions) from 1933.
ZIELKE was commissioned to produce a film for the hundredth “birthday” of the Deutsche Reichsbahn, this is the already mentioned “Stahltier” from 1935. The heads of the railway expected a nice advertisement or promotion picture, and were less than underwhelmed with the finished product – much to ZIELKE’s shock and dismay.
He constructed a story around a Werkstudent / student employee who has to complete field training with a group of workers ; the relationship between the group and the “intellectual”, ongoing engineer, develops, especially because the young man knows the history of the railroad and tells & explains it to the workers. As I read the picture does not follow ns aesthetics, does not use contemporary symbols, depicts neither student nor workers as aryan superhumans or lies about the history of the steaming engine. In fact ZIELKE did an aesthetically outstanding artful picture in the category corporate film / Industriefilm that the purchaser did not like : They blabbed something about “communist aesthetics” and threw the thing in the drawer.
Interestingly this film later was used within the training of cameramen for German propaganda units, as example for what is possible.
After the war a complete copy was found in Paris, but the successor of the Deutsche Reichsbahn, the Deutsche Bahn, still regarded the film as “not publishable”, and urged ZIELKE to shorten his work. So from circa 1955 onwards exists a crippled 50 (?) minutes version of the original 70 minutes film. Only much later, in the 1980s, the uncut original was shown publicly.
ZIELKE’s STAHLTIER (GOd, what a title !) brought him to the attention of Leni RIEFENSTAHL. She had him as collaborator for her Olympia films, and ZIELKE independently made the “Prolog” for the pictures. There was a contract, and he had it notariazed, nevertheless he is not in the credits of said picture(s), RIEFENSTAHL just dispersed him.
What follows is disputable. It is a fact that ZIELKE from February 1937 until August 1942 was held as patient in the mental asylum / Kreisirrenanstalt Haar. He describes it as kidnapping and accuses RIEFENSTAHL of pulling strings. I am not convinced, RIEFENSTAHL simply would have not needed to do something like that. She was in a nearly untouchable position in Nazi Germany. Earlier she even had shown the STAHLTIER to GOEBBELS and argued for the picture – in vain, GOEBBELS simply did not like it.
I think ZIELKE suffered from a nervous breakdown, the diagnosis “Verfolgungswahn” / paranoia / delusions of persecution may be valid or not, I have no clue. ZIELKE was castrated while in Haar, against his will, but according to the law, as a German judge told him after the end of the Third Reich when he asked for compensation. ZIELKE says he was subjected to experiments, but I think that was not verified. He was glad not to be executed (Ger., Eng.), Haar was part of the murder machinery.
In August 1942 RIEFENSTAHL – of all humans ! – took him out from Haar, and used him as cameraman for Tiefland (Ger., Eng.).
ZIELKE survived the war, started to produce small films in the 1950s and worked as cameraman again. I read that at the beginning of the 1970s, when he was completely out of the public’s eye and forgotten, a French collector “borrowed” his collection of negatives, and “forgot” to give it back. At least one of his negatives was sold for a pretty large sum via an auctioneer’s house while ZIELKE had to live from benefits. He died in June 1989, 86 years old.
What a life.


The only account of ZIELKE’s biography and his film is found here (part I) & here (part II) (Go there for pictures !), written by Manfred POLAK. Of course my scribble heavily relies on Herr POLAKs work.
It would be very helpful if the article by Herr POLAK would be translated professionally into English. Also English versions of the German wikipedia articles about ZIELKE and Das STAHLTIER would be very helpful.


An Ugly Story to Start With …

It was Joyce (an old lady who lives in a house somewhere near the Great Lakes, Green Bay ?, who sadly has not blogged since 2012 ; maybe she died), who once used the expression “down the rabbit hole” for my meandering through “stuff” : One starts “here”, gets distracted, follows leads and detours, only to come out over “there”, having created a thread, on one hand unique, but meant to be followed by others, so not so unique any more.
I like the image of the rabbit going down, sub terra, following subterranean routes, weaving a fabric, a tissue, ein Gespinst, that underlies what we see, or better, what is shown. The mycelium under the mushroom. If one is not so friendly, one may call it prattlebabblerigmarole …
While I recover from this nasty infection I spend too much time online. Lately I scrolled through a site with old photographs, and saw a pretty unimpressive nude study (Halbakt, semi nude, is the correct term I think) ; what caught my eye was not the lady’s bust, but the caption : “From Deutsche Aktwerk”. Frankly, I first thought this to be a joke : this title must be something satyrical from the sixties or seventies ; but no, it is a real publication – here is a more or less actual, American advertisement.
Looking in a trusted search engine (hint : not gargle) lead to the wikipedia-article about Herr Bruno SCHULTZ (Ger.), who was the editor of said “Aktwerk” (here is a correct description by an antiquarian, German only, sorry ; 24 b/w images on cardboard, pretty good print, Berlin 1938).
Sadly the article is in German only, and gives no dates, I would very much like to know what happened to SCHULTZ after the war. SCHULTZ was from 1927 to 1938 editor of Das Deutsche Lichtbild, a magazine open to avanteguarde and generally progressive artists, lauded by so different persons as Reichskunstwart (Ger., Eng., not an ns institution !) REDSLOB (Ger. only) and Bauhaus-professor MOHOLY-NAGY (Ger., Eng.).
After 1933 SCHULTZ marched onwards, the 1934 edition was dedicated to the FUEHRER “in endless love”. SCHULTZ became a Hauptmann, captain that is, in the propaganda department of the OKW (Ober-Kommando der Wehrmacht), no doubt a “Druckposten” he got via “Vitamin B” (Ger.), something administrative friends made possible for him, anything but the front, yeah.
He finally became a swine in 1944. His flat had been bombed and together with his wife he was relocated to a villa near Berlin. There also lived the writer KNAUF (Ger., Eng.) and the caricaturist OHSER (Ger., Eng.). OHSER did not keep his mouth shut in the air-raid cellar and in February 1944 SCHULTZ denounced both in writing directly to GOEBBELS. End of March both were arrested. GOEBBELS was pissed off and told FREISLER (he may rot in hell eternally, Ger., Eng.) to make it snappy, so the “lawsuit” started on 6th of April. OHSER hung himself the night before the “trial”, KNAUF’s head was chopped off on 2nd of May ’44. His widow, Erna, was charged with 585,74 RM for proceedings and execution.
Some place freed in that villa.
History is stories. History is human lives. Nothing else.
But I did not want to tell this ugly story from the German forties, in fact I found something else.
I am very sorry to stop right here & now, but I am tired, and have to read additional stuff. I’ll jump the rabbit hole tomorrow again, all for your pleasure. Of course.


Some moons ago Melanie gave a quick outline of an idea for a text, persons shapeshifting into cats would feature – if I knew something ?
Well, not much. There is of course the motif of a person, usually a woman, who turns into a cat, saied cat gets hurt while roaming around, and in the next morning the person is found with a matching wound, be it a broken leg, a hurt back or where ever the cat was hit. This dates back to Gervasius Tilberiensis (Ger., Eng.), late 12th century that is. A motif found around witches, sorceresses, maleficae. This would be a Werkatze (Ger., Eng.) – “wer” in this connection is not “wer = who”, but an older word meaning “man”.
I looked into my usual sources, but the Deutsche Wörterbuch  (DWB) (Ger., Eng., link) does not know the lemma “Werkatze”, under “Katze”, turning into a cat is mentioned, but not specially treated.
The Handwörterbuch des deutschen Aberglaubens (HdA) (Ger. only) mentions the shapeshifting  cat / human (Band 4, Spalte 1117 f., unter “Katze, 9”) and refers to “Hexe [witch] 3, 1871 f.”, where additional examples are listed. The HdA is outdated and only as reference for source materials usable. The actual lexicon is the Enzyklopädie des Märchens (EM) (Ger., Eng., help for using it online, but its German only anyway), in volume 7, 1099-1109, the cat is treated, but the article brings no new material.
Then I remembered a little book by Sergius GOLOWIN, Das Geheimnis der Tiermenschen. Von Vampiren, Nixen, Werwölfen und ähnlichen Geschöpfen (The Secret of “animal-men” [?]. About Vampires, Mermaids, Werewolves and Similar Creatures), Basel 1993. GOLOWIN (Ger., Eng.) (1930-2006) was a kind of leading figure of the counterculture in Switzerland since the sixties. A librarian by trade he discovered the (magic) literature of the Early Modern Period for himself (in the 1950s when absolutely no one, with the possible exception of Arno SCHMIDT, was interested in this old Plunder, rubbish, clobber), put this together with stories and fairy tales he was told by his Ukrainian grandmother, and developed a keen interest in magic, drugs, and whatnot. Very interesting person – and he wrote a book about cats : Göttin Katze – Das magische Tier an unserer Seite (Goddess Cat, the Magic Animal at Our Side), 1989. As it seems there is no English translation, perhaps an Italian one (Gatto, amico, mago, 2005). But I am sorry, I have not read the book.
In the end I think all necessary can be found in the already mentioned articles about the Werkatze.

Safety First

Pointless, boring story ahead.

The first man came in the late morning and marked the positions. The second one carried a box with devices and a laptop. He sat on the floor and busily scanned codes in, marked the devices, sorted them and left, remarking that they’d be “scharf” now, loaded. The third hauled a large power drill and fixed the devices, all three in less than seven minutes. He left with a grin and gave me a xerocopied instructional paper.
You may already guessed it, venerated reader, I am talking about smoke detectors that were installed in my rooms. All for safety.
What I do not understand is that these things must be so terribly ugly.


They successfully searched for the ugliest smoke detector available in Europe.
They successfully searched for the ugliest smoke detector available in Europe.


They look like anti-personal-mines.
I chatted with my neighbour who is living in a pretty large appartement. They had six of these things bolted to the ceiling. Also another neighbour some floors up found six of these design disasters decorating her flat. So I wondered when in a friend’s flat of the same design only five abominations were installed. I met laptop man in the lift when he carried a new box of devices and said something along the line that they surely fitted some hundreds in this large appartement house. He was a little upset and complained that he had been told to bring more than 300 of the things, but he only had 200 mounted, at the utmost. If it would have been better organised they’d be at home already.

Yesterday I walked past the janitor’s office, found the door open and him sitting at his desk. I looked, he waved me in, kicked a chair in front of the desk and asked “What’s up ?”
I expressed my astonishment about the not mounted safety device and the lack of coordination. He rolled his eyes and explained that laptop man & friends were clearly instructed to nail a smoke detector at the ceiling of every room that is possibly a sleeping room, and in the exits or hallways (“Fluchtwege”). Of course not in bathrooms and kitchens, obviously. Laptop man decided to install the things only in rooms that right now are used as sleeping rooms. The large room in my friend’s flat is actually used as a bureau – no bed, no smoke detector.
And while they were at it, they ignored the basement level completely (six appartements) and were busily searching for the “Dachgeschoss”, the attic, that is miraculously not built.
There will be another date to fix the mess. It is not clear whether laptop man & friends will do this.
While I sat there I asked him what would happen if I heard such an alarm ? “I mean : Thursday morning, 09:30, I’m back from my morning drive, ready to sleep an hour. All my neighbours are at work or at the university, usually I am alone on the floor. I hear an alarm two doors down. I knock at the door, no reaction. My janitor is not reachable, he has to take care for other objects too, some miles away. Even if you’d be here, you are not allowed to open the door.” “That would be burglary”, he chipped in.
“I call the firefighters. They go in, false alert. Do I pay the operation ?” “Nice question”, he said, “especially because it was not asked before.” “So what does my landlord say ?”
He thought for a minute and told me that if he would ask this in the centre office they’d kick him and tell him to mind his own business. Very nice shop morale.
As he knows his company, they would pass the question to the firefighters.
He pulled out a file card and called the village firefighters, 70something.
No one reachable, even after several tries.
He called the village administration and asked for the number of the force – 70something. And, after complaining that it is useless, he got the number of a portable.
Which is not working. We tried two times : Number not taken, not connected to a customer.
“Better not burn here” he said. “Commander’s out for lunch”, I agreed.
So he called the emergency number.
“Yes, relax, no alarm” – and he told his story and asked the question. Their answer was clear : They are the professional force. If someone calls them they need to know where the emergency is, then they alarm the local force. The local force deals with it and decides whether they need professional help. The cost is not their business, that is between the local force and the local administration. For this village, they call 70something.
“Thank you.”
Two middle-aged blokes with too much time to spare and a telephone.
All in the name of safety, of course.