Japanese poster for Lost Highway (David Lynch, 1997)
(via thedoppelganger)

Japanese poster for Lost Highway (David Lynch, 1997)

(via thedoppelganger)




Self-Portrait of You + Me (Jayne Mansfield) by Douglas Gordon, 2007
Poster for Crash in conjunction with Crash: Homage to JG Ballard at Gagosian Gallery, London 
(via kirgiakos, nevver)

Self-Portrait of You + Me (Jayne Mansfield) by Douglas Gordon, 2007

Poster for Crash in conjunction with Crash: Homage to JG Ballard at Gagosian Gallery, London 

(via kirgiakosnevver)




zeigarnik, velved:

La religieuse, Jacques Rivette, 1966

zeigarnikvelved:

La religieuse, Jacques Rivette, 1966



Poster by Karel Teissig for Volker Schlöndorff's Mladý Törless (Young Törless), 1967

Poster by Karel Teissig for Volker Schlöndorff's Mladý Törless (Young Törless), 1967




Poster for Carl Boese’s silent film The White Spider, 1927
Via 50 Watts

Poster for Carl Boese’s silent film The White Spider, 1927

Via 50 Watts




calyx, rifles:


Robert Brownjohn, 1963. Poster for a pop art exhibition at the Robert Fraser Gallery, London

calyxrifles:

Robert Brownjohn, 1963. Poster for a pop art exhibition at the Robert Fraser Gallery, London




Poster for Otakar Vavra’s Veronika designed by Romuald Socha and Elzbieta Procka, 1987

Poster for Otakar Vavra’s Veronika designed by Romuald Socha and Elzbieta Procka, 1987




Original Polish poster designed by Krystyna Hoffman and Andrzej Pagowski for Jacek Bromski and Jerzy Gruza’s Alicja, 1982 

Original Polish poster designed by Krystyna Hoffman and Andrzej Pagowski for Jacek Bromski and Jerzy Gruza’s Alicja, 1982 




Poster designed by Jakub Erol for Magda Vásáryová’s film Zkrocení zlého muze, 1988 

Poster designed by Jakub Erol for Magda Vásáryová’s film Zkrocení zlého muze, 1988 




Poster designed by Marian Nowinski for Jaromil Jires’ Katapulta, 1985

Poster designed by Marian Nowinski for Jaromil Jires’ Katapulta, 1985




Original Polish poster designed by Wieslaw Walkuski for Ryszard Rydzewski’s Alabama, 1984 

Original Polish poster designed by Wieslaw Walkuski for Ryszard Rydzewski’s Alabama, 1984 




Original Polish theatre poster designed by Jerzy Czerniawski for Luigi Pirandello’s Six Characters Looking For an Author / Szesc postaci szuka autora, 2007 

Original Polish theatre poster designed by Jerzy Czerniawski for Luigi Pirandello’s Six Characters Looking For an Author / Szesc postaci szuka autora, 2007 




todf, sadburro:


promotional piece for Kitten With A Whip

todfsadburro:

promotional piece for Kitten With A Whip




calyx, the-seed-of-europe:

Berlin cabaret poster, 1920s.
“The idyllic gay portrait of dapper German officers in capes and peaked caps transfixed by demure Line-Boys (teenage male prostitutes that worked Berlin’s fancy hotel lobbies, gay clubs, and bars in the Tiergarten in gangs of 4 or 5) on Tiergarten benches disappeared from view in 1919. It was beggars who retained the combat dress of the defeated army. Berlin’s gay community at the beginning of Weimar adopted a different wardrobe, the sailor’s blouse and cap (alongside the tailored morning-coat of the perfumed dandy). In homosexual Dielen, middle-aged Sugar-Lickers (nighttime gay patrons), Coolies (older Gymnasium or university students who hired Line-Boys and frequently claimed to be straight), Doll-Boys (youngest and penniless gay hustlers that worked solely for food, lodging and cigarettes), even crotchety waiters wore the crisp blue-and-white insignia of jaunty marines on shore leave. The change of uniform had various meanings. Partly, it was a matter of identification - straights didn’t wear them - and they were a Wilhelmian echo of adolescent androgyny. More significantly, Berlin’s core homosexual community had expanded beyond the units of the Potsdam garrison.”
-Mel Gordon, Voluptuous Panic: The Erotic World of Weimar Berlin.

calyxthe-seed-of-europe:

Berlin cabaret poster, 1920s.

“The idyllic gay portrait of dapper German officers in capes and peaked caps transfixed by demure Line-Boys (teenage male prostitutes that worked Berlin’s fancy hotel lobbies, gay clubs, and bars in the Tiergarten in gangs of 4 or 5) on Tiergarten benches disappeared from view in 1919. It was beggars who retained the combat dress of the defeated army. Berlin’s gay community at the beginning of Weimar adopted a different wardrobe, the sailor’s blouse and cap (alongside the tailored morning-coat of the perfumed dandy). In homosexual Dielen, middle-aged Sugar-Lickers (nighttime gay patrons), Coolies (older Gymnasium or university students who hired Line-Boys and frequently claimed to be straight), Doll-Boys (youngest and penniless gay hustlers that worked solely for food, lodging and cigarettes), even crotchety waiters wore the crisp blue-and-white insignia of jaunty marines on shore leave. The change of uniform had various meanings. Partly, it was a matter of identification - straights didn’t wear them - and they were a Wilhelmian echo of adolescent androgyny. More significantly, Berlin’s core homosexual community had expanded beyond the units of the Potsdam garrison.”

-Mel Gordon, Voluptuous Panic: The Erotic World of Weimar Berlin.




hoodoothatvoodoo, robotcosmonaut:

La Sorciere

hoodoothatvoodoorobotcosmonaut:

La Sorciere