The blog of author Dennis Cooper

Category: Uncategorized (Page 716 of 1102)

28 abandoned theme parks *

* (restored)

 

 

Mr Blobby & family at Crinkley Bottom Theme Park 1994

‘He attracted nearly 17 million television viewers at the height of his fame, and even had a number one hit, but today Mr Blobby’s empire is a mere shadow of what it once was. The Mr Blobby character shot to fame on Noel’s House Party in the early Nineties, and the Crinkley Bottom theme park, also known as Blobbyland, created in his honour, opened shortly after his hit single ‘Mr Blobby’ in 1993.

‘New images of what was the Mr Blobby theme park in Somerset show a depressing ruin covered in weeds and trashed after all-night raves. The ravers should have more respect for Mr Blobby. He was a hero to a lot of kids and the thought of them taking drugs and having all-night raves in his house is completely disrespectful. The park closed its doors in 1999, after the popular Saturday night television show Noel’s House Party on which Mr Blobby featured was axed by the BBC.

‘Noel’s House Party host Noel Edmonds licensed three Blobby-inspired theme parks at the peak of the chubby character’s popularity. The Crinkley Bottom theme park in Morecambe, Lancashire, closed just 13 weeks after it was opened in 1994, while another in Lowestoft was also closed after the character’s popularity faded.’ — collaged

 

Gulliver’s Kingdom, Kawaguchi-machi, Japan (2007 – 2011)

‘Gulliver’s Kingdom was a failed theme park located near Kawaguchi-machi, Yamanashi prefecture, Japan. The park opened in 1997 and typified the “bridge to nowhere” construction projects Japan’s government and banking sector championed in the 1990s.

‘Gulliver’s Kingdom was backed financially by the Niigata Chuo Bank, which later collapsed into a sea of red ink and toxic, non-performing loans. As it morphed into a so-called Zombie Bank, the Niigata Chuo Bank was ordered to clear its books of unprofitable assets, of which Gulliver’s Kingdom was one: they had lent the venture around $350 million. In October of 2001, the unpopular theme park shut its Brobdingnagian doors for the last time.

‘On the face of it, Gulliver’s Kingdom had a few things going for it. Its location, for one thing – nestled in Kamikuishiki village at the foot of Mount Fuji. About 25 million tourists descend upon Mount Fuji’s environs each year and as beautiful as it is, how long can one look at a dormant volcano?

‘But Mount Fuji has a dark side, most notably the Aokigahara area where seemingly oblivious project planners decided to build Gulliver’s Kingdom. Ranked sixth by the website Cracked.com on their list of The 6 Creepiest Places on Earth, Aokigahara is Japan’s “suicide forest” – said to be the second most popular suicide location after San Francisco’s Golden Gate Bridge.

‘Bad enough Gulliver’s Kingdom had a suicide forest as its neighbor, the park’s other neighbors were much, much worse. Kamikuishiki village is notorious for being the location of the Aum Shinrikyo doomsday cult’s headquarters and nerve gas production facility. Remember Aum? They’re the cult who carried out Sarin gas attacks that killed 19 people, including 12 on the Tokyo subway. On March 22nd, 1995, the cult’s compound was stormed by over 1,000 police officers decked out in full-face gas masks.

‘Three years later (and one year after Gulliver’s Kingdom opened), residents living nearby were still being reminded of Aum Shinrikyo’s monstrous crimes. “I can still smell the chemicals sometimes when I take a walk in the morning,” said 69-year-old Norie Okamoto, who lives just 100 meters (330 ft) from one of the cult’s former Sarin production facilities. The exposure of Aum Shinrikyo was pretty much the straw that broke the back of Gulliver’s Kingdom, though there was really so much wrong with the park on so many levels one might say it was clearly doomed from the start.

‘Gulliver’s Kingdom wasn’t actually a Six Flags style park, by the way. The closest things to the usual amusement park rides and rollercoasters were a bobsled track and a luge course – not exactly ideal for the kiddies. Let’s not forget the immobile star of the show, a 45 meter (147.5 ft) long statue of Jonathan Swift’s epic character. Even the name of the park was a misnomer. If it’s Gulliver’s Kingdom, what’s the big guy doing securely pegged to the ground? No way to treat a king, now is it? Those are just some of the questions we’ll never know the answers to… and here’s one more: what’s inside the doors cut into Gulliver’s body??’ — Web Urbanist

 

Take a tour of The Land of Oz

‘At the top of a winding North Carolina mountain road is the entrance to Oz, a 1970s theme park abandoned less than 10 years after it opened. In the same way the Wizard of Oz created the Emerald City to wow his subjects, entrepreneur Grover Robbins dreamed up the Beech Mountain theme park as a way of attracting families – and money – to the resort town. Using local craftsmen and entertainers, Robbins and designer Jack Pentes built their grand interpretation of the popular 1939 film over 450 acres.

‘The park was designed originally to walk tourists through the story, starting with the farmhouse, where Aunt Em could be found in the kitchen. As the sound effects of a tornado began, tourists would be ushered into to the storm shelter with one of several Dorothys who worked at the park. A door in the cellar would then open on to a tilted version of the farmhouse, to recreate the storm damage, and a pair of striped stockings and ruby red slippers of the Wicked Witch of the East, would greet the visitors as they left the house.

‘The Yellow Brick Road wound its way through the park, leading tourists to a replica Emerald City. Dorothy’s house, the castle of the Wicked Witch of the West and the Munchkin village were all faithfully recreated. The men behind the project even set up a balloon ride made out of a ski lift, so that visitors would get a winged-monkey’s eye view of the park nestled in the mountains before they were whisked back to the real world.

‘The park opened on June 15, 1970 by Debbie Reynolds, accompanied by her then little-known daughter, Carrie Fisher. In its first summer 400,000 visitors came to the Land of Oz, according to Watauga Lake Magazine. Sadly, however, Robbins never lived to see his masterpiece, dying at the age of 50 of bone cancer only six months before the park opened in 1970. More tragedy was to beset the park, when a fire destroyed Emerald City and part of the museum collection, including dresses worn by Judy Garland in the movie.’ — collaged

 

Dogpatch USA, State Highway 7 between Harrison and Jasper, Arkansas (1967-1993)

‘Though long abandoned, Dogpatch USA was arguably the country’s most successful hillbilly-themed amusement park centered on a trout farm. In 1966, the Raney family trout farm in Marble Falls, Arkansas went up for sale. A company named Recreation Enterprises bought the land for an obvious reason: to turn it into a rustic theme park based on Al Capp’s hillbilly-themed Li’l Abner comic strip.

‘The hick motif was none-too-subtle: attractions included Barney Barnsmell’s Skunk-Works, Rotten Ralphie’s Rick-O-Shay Rifle Range, and a roller coaster called Earthquake McGoon’s Brain Rattler. Instead of garbage cans, the park had “trash eaters”—mechanical pigs, goats, and wild hogs that would suck refuse from the hands of whoever fed them. (“Please feed the trash eaters,” read the signs, “they gits hongry, too.”)

‘Among all these exciting spectacles was the star attraction: the trout pond. Visitors could catch as much fish as they liked and have it cleaned and packed in ice for a dollar per pound. If you didn’t want to lug your trout home, staff at the Dogpatch restaurant could even cook up your catch and serve it to you for dinner.

‘Despite all these delights, by the mid-1970s, the park was beginning to flounder. Rising interest rates, a national energy crisis, and the fading of hillbillies from pop culture all contributed to Dogpatch’s financial troubles. New rides with tenuous links to the park’s theme attempted to capitalize on trends—Li’l Abner’s Space Rocket ride promised “all the thrills and realism of an actual space shuttle and all the fantasy of Star Wars.” It delivered neither.

‘After being sold to new owners in 1981, and again in 1987, Dogpatch USA struggled on until 1993, when it closed for good. The park has since been left to ruin. A 2002 attempt to sell it on eBay for a million-dollar minimum bid drew no buyers.’ — Slate

 

“She died of leukemia”: Santa’s Village and Halloween, 1960

‘Yesterday I went to look at Santa’s Village Open house which is up for sale for asking price of $2.75 million. Monica was the broker in charge and made sure only serious potential buyers came on to the property. There was only my dad and me and five other people who showed up. We were shown into the second floor of the entrance building were alot of blue prints were. They were all Walt Disney era blue prints from the mid 1950s. The most interesting was an expension plan to add “Holiday Village” [likely a themed shopping center much like what Universal Studios today has Universal City] to the front of Santa’s Village and shift the parking over to the east of the park. She was nice to deal with and gave a little insight as well into the property and including issues involved.

‘Santa’s Village itself is about 90% intact with one collapsed building south of the good witch’s bakery and some missing rides. I could not find the christmas tree ride or the bob sled ride but they may have been moved. I know the carousel was sold and the area were the cars are we never got to because of too much ice. Same problem with the mirror fun house. It’s there but cut off from ice. The monorail which is the feature ride is remarkably great condition, almost no peeling paint. What did disturb me though was despite the buildings great condition on the outside, much of the interior’s were ravingly destroyed by gutting. I asked Monica why and she told me the kids or relatives of the family were trying to remodel it and get it open again but gave up. I hope to save this great piece of history and make it more magical and wondrous then ever before but I will need help and support to make my ambition come to fruition.

‘I want to open it again but it won’t happen without some considerable help. I need investors and people who will help support my creative cause and ambitions to get this place open again. I want to make it infact better than before utilizing the full 189 acres of land and not just the fifteen acers it originally utilized. I also want to have a year round massive led light display that will dazzle millions of people who flock to see it year round and I will have all the original rides plus addtional rides that are both great for kids and adults. It would have shipping, lodging, time shares, ice skating, entertainment and the world’s largest art park featuring my giant recycled robots. It will have new and ever expanded added attractions each year so people will always have something to look forward to year after year and they will not ever know what to expect in the way new and exciting things.’ — hamblin1325

 

Ghost Town in the Sky, Maggie Valley, North Carolina (1960 – 2002)

‘Despite a recent attempt to reopen it, Ghost Town in the Sky—an allegedly cursed amusement park in North Carolina—has recently been put on the market for $5.95 million, The Charlotte Observer reports.

‘The 250-acre Wild West-themed attraction, which opened in 1961, sits atop Maggie Valley’s Buck Mountain near Asheville, North Carolina. Perched at a 4600-foot elevation, it can only be reached by a chairlift, an incline car, or a really long hike.

‘Valerie and Spencer Oberle have been working to buy the park, renovate it, and reopen it, but have faced several setbacks along the way, including serious financing issues. Valerie Oberle told The Charlotte Observer that although their offer has expired, they haven’t abandoned their hopes of resurrecting the abandoned mountaintop attraction. It’s difficult, she said, since “the property continues to deteriorate as the owner has not taken any measures to preserve,” but the couple is still trying to raise funds to purchase the park. In the meantime, the park is still up for grabs.

‘Ghost Town in the Sky gained its cursed reputation for a few different reasons. In 2002, a mechanical malfunction trapped tourists in the chairlift for hours, and in 2010, a catastrophic mudslide blocked the only road to the park. But perhaps the most unsettling event occurred in 2013: A cowboy, in the middle of staging a routine (pretend) gunfight, was shot and wounded with an actual bullet. We don’t know how or why the gun was loaded, but the incident seems a little Westworld-ian.’ — Mental Floss

 

Takakanonuma Greenland: Scary and Abandoned

‘In Japan’s Fukushima Prefecture, there is an abandoned amusement park known as Takakanonuma Greenland. It sits in the outskirts of Hobara, a section of the Japanese city of Date. Very little is known about this park, and its exact location is largely unknown. You can’t find it on any Japanese map, as it simply isn’t there. Supposedly, its coordinates are 37°49’02.16″N 140°33’05.78″E, but if they are put into Google Maps, the search will be directed to the center of Hobara. This is inaccurate, since the park is hidden in a mountainous, rural area.

‘The only major information known about Takakanonuma Greenland is that it opened in 1973, and closed two years later. Some claim that this was due to poor ticket sales and needed renovations, but locals say that it was because of a significant amount of deaths on the rides. Miraculously, the park reopened in 1986, but struggled to remain open due to increased competition from bigger parks such as Tokyo Disneyland, as well as financial trouble. Finally, in 1999, Takakanonuma Greenland closed for good.

‘Following its closure, the amusement park was left to rot. Photographs from urban explorers who have infiltrated the area show a massive amount of decay. The ferris wheel and the roller coaster are covered in rust, the entrance is covered in graffiti, and the premises are being reclaimed by plants. The most notable feature of the park is the dense fog that always looms over it, giving off a Silent Hill feel. Like the information about the area, there is very little photography and video of it.

‘Allegedly, Takakanonuma Greenland was demolished in 2006, and now sits as an empty lot. However, in 2007, a citizen of the United Kingdom named Bill Edwards claimed to have visited an untouched, completely intact park. Supposedly, he took numerous pictures that were identical to those taken before the park’s supposed demolition, showing the same rusty, forgotten rides. However, according rumor, when uploading these photos, only one appeared on his computer. This picture shows the entrance to the park on a foggy night, illuminated by the flash from the camera. In the center of this picture, you can barely make out the figure of what looks like a six year old girl in a white dress. She appears to be staring at the photographer with a serious, indifferent face.

‘The girl has never been identified, and the whereabouts of Bill Edwards are currently unknown…’ — Creepy Pasta

 

The Whacky Shack Dark Ride

‘Joyland, home of the Whacky Shack was one of two amusement parks that were in Wichita during the middle of the twentieth century. The downtown area contained a kiddieland park while Joyland was located on the outskirts of the city. Like many other parks around the country, Joyland noticed vandalism and theft in the darkride soon after it opened. The park started noticing that people were walking the midway wearing parts of the ride, like the vines! One innovative ride operator thought that he had the answer to this problem so he hid barbed wire in the vines! The park’s owner soon put an end to the solution and had the barbed wire removed. Like some other parks, they eventually installed fence between the riders and the scenery.

‘While the ride opened with standard darkride cars, they were eventually changed to rotating type Pretzel cars to add some additional surprises. As at some other parks, maintenance concerns and people with motion sickness ultimately forced the park to weld the cars to stop the rotation. One operator relied on the heavy weight of the car and the darkness to help him add some surprises of his own. He would hide in the darkness and jump on the rear bumper of a car as it rolled by. He then would whack the young men in the head with a piece of rubber hose! The park owner noted that not one of them ever said a word about it when they exited the ride.

‘As the years went on, some changes crept into the ride. The ride’s designer, Bill Tracy, was into thrills, not maintenance. The two dips that were originally built into the ride were removed and replaced with level track. The barrel that the cars traveled through in one portion was built by the park but it never worked quite right so it was removed. Another minor problem was that of operators losing track of the cars in the ride. The first solution was a simple one, don’t send in a car until you see one come out! In its final days, a computer prevented the cars from getting too close together, if they dis the ride stop, the lights came on and the doors opened. The ride also shut down if someone got out of the car and ran ahead.

‘Due to economical troubles and safety concerns Joyland had to close for the 2004 season. Since its closing, it has been subjected to numerous incidents of vandalism and looting. Nearly every building is covered with graffiti, and the vintage sign from the top of the roller coaster has been stolen. The administration offices have also been destroyed. Park owner Margaret Nelson was quoted as saying “We’re sick. Our hearts are just sick. It’s not easy, not easy.” Interest in the park sparked again in 2006 when a Seattle based company, T-Rex Group, leased the park to restore and open portions of the park. After financial concerns with the park, the T-Rex group did not open the park for another season. Joyland has now sat since 2006 without any maintenance and continually deteriorates.’ — collaged

 

Spreepark, Berlin, (1969 – 2002)

‘The Spreepark in Southeastern Berlin has been abandoned for the last 10 years, and it looks like it. Each part of the park is scattered with remnants from the previous three decades, making a hodgepodge of bizarre entertainment, children’s rides, and life-size dinosaur statues.

‘Originally constructed by the communist government in East Germany in 1969 as the VEB Kulturpark Plänterwald, the “Kulti” stood until the fall of the Berlin Wall 20 years later. It thrived throughout the communist era with 1.7 million visitors annually.

‘The controversial amusement park operator Norbert Witte took it over in 1991, renaming the park “Spreepark.” He replaced the primarily asphalted surface with a grass and water landscape and installed a number of rides which he bought from the insolvency of the Mirapolis amusement park near Paris and moved to Berlin. Witte changed the scenery multiple times, even adding an English village. Unbeknownst to police and Berliners, Witte had also become involved in smuggling cocaine, concealing it in pieces of ride equipment shipped between Peru and Germany during his time as park administrator.

‘Due partly to his criminal activities and due partly to lackluster visitor numbers, Spreepark was shut down to the public in 2002, and Witte was tried on smuggling charges two years later.

‘The result of this shutdown was the amusement park which has slowly fallen into dereliction and has been taken over by nature. The whole park was featured in the film “Hanna,” and the main sites are prominent in the film’s climax.

‘A number of features were destroyed in a fire in 2014 which was caused by arson., following which security was strengthened with a new perimeter fence and permanent security personnel and dogs. In 2016 the site was taken over by the company Grün Berlin GmbH, owned by the City of Berlin, with the objective of transforming the site into a location for arts and culture. Plans were proposed in late 2018 and are being considered for implementation in several years.

‘As of May 2019, many of the previous attractions of the park have been removed. However, the Ferris wheel and the “Fresswürfel” restaurant from the “Kulti” period remain, as do the “Spreeblitz” rollercoaster, the “Cinema 2000,” the facade of the English village, the cup carousel, and the artificial rock of the “Grand Canyon” wild water ride from Norbert Witte’s Spreepark period.’ — Atlas Obscura

 

Camelot Theme Park official Promotion Video 1989

‘Camelot Theme Park, located near Charnock Richard (about 3 miles from Chorley in Lancashire, UK) was a theme park inspired by the Medieval legend of Camelot. Opening its gates in 1983, Camelot Theme Park’s rides and attractions were aimed towards children and families, and the Park was a popular draw for school trips (including my own). Gradually, over the years, thrill rides and roller coasters were added to the mix.

‘At its height in 1995, Camelot attracted 500,000 visitors seasonally. However, in 2005 this had declined to just below 340,000. The Park went into receivership in early 2009 (during the off season), but eventually opened for business in May of that year. By this point, the Park was receiving mixed reviews, with cleanliness and general maintenance cited as lacking in some areas. It’s also fair to say that the Park was not a patch on Alton Towers in terms of thrills, and Gulliver’s World in Warrington was also a draw for families and children. In 2006, Camelot came joint bottom in a poll conducted around healthy food at UK visitor attractions, scoring one point.

‘Faced with dwindling attendance, Camelot announced that it would close after the 2012 season. The Management cited the Olympic games, Her Majesty’s Jubilee and poor summers as the reason for closure. The owners of this closed theme-park wasted no time in dismantling the attractions and selling off rides to the highest bidder. They are considering other uses for the area, and the site will most likely become a housing development if plans go forward. However, their plans to redevelop the former Camelot theme park site into a 420-home housing estate have been described as ‘disastrous’.’ — collaged

 

Shidaka’s Utopia, Beppu, Kyushu, Japan (1970s – 1994)

We found an amusement park in Kyushu–Japan’s largest southern island–from some grainy satellite photos. It opened in the early 80s and lasted just over ten years before it was abandoned in 1991. Most Japanese people say that Kyushu lags 20 years behind the rest of the country, and although it felt Japan’s economic situation with the same heinous consequences as the rest of the country, it hasn’t seen nearly as much recovery.

Matching the satellite pictures to maps of Beppu’s mountainous hinterland, we eventually found an entrance, preceded by cracked pavement and dead clumps of weed. The sober, predictably ironic, Japanese sign said “Shidaka’s Utopia.”

From the entrance you can see a field of deserted amusement attractions. The first attraction we went to, the roller-skating rink, still had all the skates. It was like everyone went home after work one day, and just didn’t come back. Which, I guess, is pretty much what happened.

The water in the boating pond looked pretty grim, and outgrown and ragged shrubs and weeds surrounded it. The helter-skelter looked like something from Return to Oz.

We found a house of horrors on the other side of the pond. With only a totally pointless phone-light and our camera flash to guide us, we wandered through the dark tunnel. The decay had taken its toll on the robotics. One character on the ride had been based on a traditional Japanese folk tale about a cat ghost, but the cables and pistons that once gave it life had torn its face out. Probably adding to the effect.

There were quite a lot of monsters and disassembled robo-beasts on our way out. It was all quite impressive; it made me think of The Killing Joke where the Joker takes over an abandoned theme park–with scary/rapey results.

Slightly out of the way was an enormous Ryokan hotel for the families that couldn’t cram all this J-amusement into a single day. Some windows were broken, but from the outside it looked like it was more a victim of neglect than abuse.’ — Vice

 

A Collection of Bits of Videos About Heritage USA

‘In 1986, Jim and Tammy Faye Bakker’s Heritage USA was the third most-visited amusement park in the US, behind only Disney World and Disneyland. Much of the park, the area of which once comprised 2,300 acres (9.3 km2; 3.6 sq mi), was built by noted church builder Roe Messner, who later married Tammy Faye Bakker after Tammy’s divorce from Jim Bakker. Now the park that once entertained millions of guests is falling to pieces, and looks more like the scene from a post-apocalyptic movie than a place for family fun.

‘The facilities included the 501-room Heritage Grand Hotel, Main Street USA, an indoor shopping complex, the Heritage Village Church, a 400-unit campground, The Jerusalem Amphitheater, conference facilities, a skating rink, prayer and counseling services, full cable TV network production studios, Bible and evangelism school, visitor retreat housing, staff and volunteer housing, timeshares and the Heritage Island water park and recreational facilities.

‘In the midst of Heritage USA’s high point, when it earned $126 million per year, the IRS revoked its tax exemption. Soon after Bakker’s federal indictment and public condemnation over his sexual affair, attendance dropped at Heritage. Falwell argued that “PTL’s Heritage USA complex in Fort Mill was competing unfairly against tax-paying tourist attractions, and that the tax-exempt ministry should be separated from the running of hotels and amusement parks.” Under Falwell’s leadership, Heritage USA sought chapter 11 bankruptcy protection with debts estimated at $72 million. The 165,000 people who gave $1,000 to Jim Bakker’s planned Heritage USA hotel tower in return for promised four-day vacation stays received $6.54 each.

‘Heritage USA opened in Fort Mill, SC, in 1978, and by the mid-eighties drew in six million visitors each year. The park was perhaps best-known for “Jerry’s Slide,” a 163-foot water slide that Falwell slid down in his suit, resulting in one of the most famous photographs of the televangelist. But those water slides and fairy tale castle were, in part, responsible for Falwell’s downfall. After scandals regarding Falwell’s fundraising efforts to build the park’s never-completed hotel and the IRS’s revocation of its tax-exempt status, Heritage USA was hit by another, more physical blow. Hurricane Hugo wreaked havoc on the park’s buildings in 1989, and Heritage closed for good shortly afterward.’ — collaged

 

Joyland, Wichita, Kansas (1949 – 2004)

‘Lester Ottaway opened the 40-acre park in 1949 during the beginning of the post-war economic boom as the aircraft industry in Wichita took off and the city’s population was rapidly growing. A total of 1,200 cars filled the parking lot on the day the mayor cut the ribbon on the roller coaster.

‘Evenings at the park were especially memorable in the days before television and air conditioning were commonplace. The park’s Easter celebration, started in 1949, continued every year until it closed in 2006, and in 1959, it included 1,000 free carnations for the first 1,000 women in addition to eggs for the children.

‘The first year the park opened, Margaret Heinzman, 15, was fired from her job selling ice cream because, she was told, her presence caused too many boys to linger near the ice cream wagon. Two years later, Heinzman met Stanley Nelson, a veteran who wore a suit and tie to his park job every day. They married that same year. The Nelsons took over the park in the 1970s and ran it until 2000.

‘The park won an award for its “Moonlight Swim” promotions, and later, Eagle reporters would wax poetically about the events when they brought their own children a generation later.

‘In the 1960s, before the animal rights movement became what it is today, an 8-month-old lion bit a caretaker at the park and three deer escaped, two of which died. In 1964, the park was sued for $400 when a girl smashed her teeth into the steering wheel of a bumper car, back before seat belts became mandatory for theme park rides.

‘In the late 1960s, the park added a skating rink with “bright colors” and “decorative lighting.” By the time the 1970s were in full swing, it had built The Wacky Shack, a ghost ride that featured “illusion effects” and “psychedelic lighting tricks.”

‘The park always brought in tours to keep its act fresh. In the 1950s, it brought in a 100-foot Ferris wheel, the largest portable wheel available. In the 1970s, it featured a large country music lineup at the Wichita State Fair, an event the owners hoped would be on par with but not detract from the fair. The Nelsons, who bought the park in the 1970s, brought in the “father of Jesus Rock” in 1978 to perform at a two-day festival that included free camping.

‘Just as nostalgia for the park rose, so did complaints about the long lines and younger generation. Allen Hardy, who said he served over a million Sno-cones at the park between 1950 and 1980, said the patrons “don’t dress like they used to. They seem sloppier than they used to be. So are their manners. But I guess old folks have been saying that the younger generation is going to hell for the last 3,000 years.”

‘1977 saw the first of three major tragedies resulting in death at the park. That year, a 7-year-old boy, Monty Stovall, fell from the roller coaster near the end of the ride and died. He had been taken to the park by his grandmother for a school event and was reportedly standing up in the rear car.

‘In the early 1980s, just as the U.S. prison population was starting to rise, two young men were convicted of stabbing to death a park employee in the parking lot. They had apparently sneaked into the park and were provoking several employees before they ended up finding one to fight.

‘The Eagle said that Dwight Sayles, one of the accused, appeared in court in his bare feet. Sayles received nearly as long a sentence (three to 10 years) for stealing a lighter and some tokens a few hours before the stabbing as he did for the stabbing itself (five to 20 years for voluntary manslaughter). Sayles, 21, trembled when he pleaded guilty before the judge.

‘Then, in 1998, Kevin Briley, a maintenance worker, was killed when he was hit by the roller coaster as he cut weeds underneath it, not hearing the ride coming. The following year, Kansas lawmakers considered requiring state inspections for amusement park rides. But they ultimately decided to just require them to buy insurance. It wasn’t until a state lawmaker’s son died in 2016 on a water park ride that the Legislature passed a law requiring state inspections.

‘In 2004, 13-year-old Elizabeth Schmitz fell 30 feet from the Ferris wheel and hit another seat on the way down. Although she didn’t die, the owner of the park at the time, David Rohr, got into a dispute with the insurance company. Rohr was already being sued for missing payments on the park that he had just purchased the year before.

‘By 1974, it was getting too expensive “to build the bigger and more thrilling rides,” said Joyland owner Stan Nelson. “If you wanted to build a coaster today, it would probably cost about $500,000. Timber is real tough to get, especially the size you need.”

‘By 1981, Stan Nelson was resigned to playing the role of second fiddle to the larger parks: “Joyland doesn’t pretend to be the park to end all parks,” Nelson said. “It’s simply a hometown recreational facility that draws from a radius of about 100 miles.” Joyland continued to make money. According to court documents, around the time when the park closed in 2004, it was grossing around $1.75 million per year.

‘As Joyland struggled, the potential profits and trend toward theme parks encouraged local businessman Thomas Etheredge to develop a $24 million Wild West World north of the city. But in 2007, when it failed just two months after opening, neither Wild West World nor Joyland would ever find investors willing to buy into a Wichita amusement park again.

‘In 2008, paintballers sprayed the Joyland park, weeds had grown into the cracks and “wind whistled through buildings with no windows and through the ghostly skeleton of the roller coaster, now silent.” In 2009, the opera house burned down, and in 2010, Stanley Nelson died.’ — The Wichita Eagle

 

Splendid China, 1996

‘Florida Splendid China, a $100 Million theme park which opened in 1993 on 76 acres just West of the main entrance to Walt Disney World, brought to visitors the beauty and landmarks of China in miniature form. Accurate scale models of some of that China’s most interesting architectural and cultural sites, peopled with a motionless ceramic population, were scattered along the park’s curving and well landscaped (if not particularly shady) paths. The miniatures included replicas of The Great Wall of China (this version was half of a mile long and built brick by brick), The Terra Cotta Warriors of Xi’an, The Leshan Grand Buddha Statue (in 1/8th scale), The Forbidden City (including a miniature Emperor’s wedding procession), Potala Palace (the spiritual center of Tibet and traditional seat of the Dalai Lama) and more than 50 others representing the diversity of cultures within the region.

‘Florida Splendid China had no rides, no bright lights, and no frenetic action and flashy stunts like you find at the other theme parks in the area. It was designed for relaxation and contemplation of the beauties of the Orient. On the surface, the park was serenity itself — but in the background, if you listened, you could hear the sounds of protest… Florida Splendid China presented a peaceful picture of China as it had once been — the temples populated by quaint, colorful monks, no troops stationed in Tibet, and no tanks in Tiananmen Square. Protestors charged that Florida Splendid China was a tool for propaganda rather than entertainment, and they often staged demonstrations outside the park, and also worked to end school field trip visits.

‘The park’s critics charged that depictions of Tibet’s Potala Palace, Mongolian Yurts, and other landmarks from other cultures as being within China were attempts to legitimize Chinese Communist occupation of formerly independent areas, that the multiplicity of religious sites gave a false impression of religious and cultural tolerance within China when those religions were being oppressed, and that the park was actually owned and operated by the Chinese Government through China Travel Services and was in violation of the Foreign Agents Registration Act. Park officials denied that there was any political purpose to Florida Splendid China. The vice president of China Travel Service told The Orlando Sentinel: “We’re a theme park. Nothing more.”

‘Americans never embraced Florida Splendid China. Unlike its sister park in China, Shenzhen Splendid China, which has been a major success with thousands of visitors each day, the Florida park was rarely crowded. It seemed to have been built for a much greater volume of guests; several restaurants built within the park remained empty and closed. In 2002 the Orlando Business Journal called Florida Splendid China “the theme park equivalent of a ghost town.” On December 30, 2003, the following appeared on the park’s website: “FLASH!!! Florida Splendid China Theme Park will discontinue operations in Central Florida as of the close of business on December 31, 2003.”‘ — collaged

 

Pacific Ocean Park, Santa Monica, California (1958 – 1967)

‘Purchased in 1956 by CBS and Los Angeles Turf Club, Ocean Park Pier underwent two years of renovations before re-opening as the beloved sea-themed Pacific Ocean Park.

‘When CBS and Los Angeles Turf Club first acquired the Pier’s lease, they proposed a $10 million investment in a nautical-themed park that would compete with Disneyland. In order to make this happen, they hired top-notch amusement park designers and renowned Hollywood special effects artists. New, innovative attractions were created for the Park by over 80 people, who worked on the project for more than a year.

‘Since competing with Disney was an expensive venture, POP owners decided to use a Disney-inspired strategy, procuring corporate sponsors to split some of the exhibit costs. Additionally, they opted to repair and refurbish existing structures and integrate old attractions into the new design. Some of these historic attractions featured at POP included the merry-go-round, fun house, and roller coaster.

‘When it opened, Pacific Ocean Park was ornately decorated with sea-green and white art. The entrance featured fountains, sculptures, and more, and the ticket booth was nestled under a six-legged starfish canopy lined with bubbles and sea horses.

‘When it finally opened to the public on Saturday, July 28, 1958, POP drew a crowd of nearly 20,000 people and dozens of Hollywood celebrities. The second day saw nearly double the attendance with 37,262 guests—enough to cause significant traffic jams in the area. Famously, POP outperformed Disneyland in visitor numbers during its first week.

‘Entering the Park was a spectacle in its own right. Visitors entered the Park through Neptune’s Kingdom, descending a submarine elevator to the oceanic corridors below and emerging at a large sea tank display with sharks and other fish. Visitors could see a massive diorama that featured some of the other local sea life, like artificial turtles, manta rays, and sharks glided by over coral reefs and hanging seaweed.

‘Getting into the Park cost ninety cents for adults, with a slightly discounted rate for children. The fee included access to Neptune’s Kingdom, the Sea Circus, and the Westinghouse Enchanted Forest exhibit, but rides and other attractions needed extra tickets. Eventually, the Park shifted its admissions and ride fee structure, which some believe was the beginning of POP’s decline.

‘The Westinghouse Enchanted Forest and Nautilus Submarine Exhibit were major draws for the Park, even including a 150-foot model of the atomic reactor section of a former submarine. The Sea Circus, which featured dolphin and sea lion shows, was another popular attraction, and the auditorium was home to major rock shows including Ritchie Valens, Sam Cooke, The Beach Boys, and Pink Floyd. There were also two dining and shopping areas for visitors to enjoy meals and hunt for souvenirs.

‘As for rides, POP had a roller coaster, two Ferris wheels, and an artistic carousel, as well as popular attractions like the Flying Dutchman and Deepest Deep, where riders took a fake submarine ride with mermaids and other sea life. Like many amusement parks, simple carnival rides like bumper cars, and a tilt-a-whirl also provided hours of fun to visitors.

‘POP’s popularity lasted about a decade before its closing in 1967. The Park’s second season was worse than the first, and the owners closed it for winter, later selling the property for $10,000,000.

‘The sixties saw rides left in disrepair and a decline in the safety of the surrounding neighborhood. A change in ticket sales to one general admission price without separate ride tickets also contributed to financial trouble. Even bringing in money up front, there were high overhead costs which caused maintenance to fall by the wayside.

‘After changes in ownership and management, POP had a successful 1964 season. However, the city of Santa Monica began its Ocean Park urban renewal project soon after, which led to construction and demolitions near the Pier. The spate of street closures near the Park that resulted from this initiative eventually put POP in dire financial straits.

‘By 1967, POP’s creditors acted on several months of non-payments, forcing it into involuntary bankruptcy. The Park closed on October 6, 1967. Like many iterations of the Pier before it, Pacific Ocean Park later suffered a fire, leaving much of the Park in ashes.’ — pac park.com

 

Loudoun Castle Theme Park Scotland 2009

‘Loudoun Castle Theme Park, near Galston in East Ayrshire, has shut its doors for good with the loss of 11 permanent and 160 seasonal jobs after its managing director said it was “no longer economically viable”. The theme park, which opened in 1995, featured 25 rides, a farm area and daily live shows. Dutchman Henk Bembom took control of it seven years ago. The combination of bad weather, increased VAT and the imminent opening of new publicly-funded visitor attractions, including the £21million Burns Centre and the £85million transport museum in Glasgow, which will be free of charge, has created a situation where Loudoun Castle Theme Park is no longer economically viable.

‘”Attendance peaked in 1997 at 225,000 but dropped down to 110,000 by 2003,” said Benbom. “I always hoped to achieve numbers back up around 175,0000. It wouldn’t make a huge profit, but it would be sustainable. From the start, we did invest quite a bit of money in new rides. In 2007 we introduced the Barnstormer, an S&S; tower ride, and visitor numbers were on track to surpass our targets for the year, but then disaster struck [Note: A park employee was killed on one of the park’s rollercoasters. The company was cleared of all health and safety charges in 2009]. After that tragedy we ended the season around 155,000 and have never really got above that figure since.”

‘Investment, consulting and project management company Vicon wants to redevelop the castle itself as the “centrepiece” of a development that proposes “a world-class championship-standard 18-hole golf course, clubhouse and educational golf academy, new whisky distillery, homes, retail and a food and drink centre of excellence”. The development would be powered by “clean renewable energy”, with a renewable energy plan being proposed for the site.’ — collaged

 

The American Adventure Theme Park, Derbyshire, UK (1987 – 2007)

‘The American Adventure was a theme park in Derbyshire, England, quite close to both Nottingham and Derby on the edge of Ilkeston. The park for many years had a number of large white-knuckle attractions, but in 2005 was re-themed as a ‘family’ park aimed at the under-14 market. In January 2007 the owners announced that it would not reopen for the new season, and the rides would be sold off.

‘The American Adventure, built on an area of Country Park which had been subject to deep seam and opencast coal mining, was originally opened in June 1987 with an Old West and Cowboys vs. Native Americans theme. A theme park called Britannia Park had been opened on the site in 1985 but closed after just 10 weeks, insolvent, and its founder Peter Kellard was later imprisoned for fraud.[1] Derbyshire County Council purchased the site in 1986 and sold it to Granada, who in June 1987 opened the American Adventure, heralded as Britain’s Major New Theme Park. Initial attractions at the American Adventure included the two-drop log flume, the runaway mine train, the Buffalo Stampede roller coaster, a pirate ship, and a ferris wheel.

‘1989 saw the opening of the Missile roller coaster, a Vekoma Boomerang coaster which was at the time voted the number one roller coaster in the UK. Shortly before this there was the Canadian themed addition of the Rocky Mountain Rapids. In the same year, the Assault Course round in the junior version of The Krypton Factor (known as Young Krypton) was filmed. In 1993 the log-flume was extended to have a third drop and was renamed from “Cherokee Falls” to “Nightmare Niagara”. The extra drop made it the tallest log-flume in the UK throughout its operational life (this record has now reverted back to Loggers Leap at Thorpe Park as this ride used to hold the record before the new drop was added). In 1995 the Iron Wolf roller coaster (now located in a Polish theme park and known as the tic tac tornado) was installed, which broke away from the American theming of the park and was instead themed around the ITV gameshow Gladiators.

‘From 1996 onwards the park began to decline, and in 1997 Granada sold it to a company called Ventureworld which was headed by John Broome, a former Alton Towers developer. During the reign of Broome as owner of the park the only noticeable change was the addition of minor or upcharge attractions, and the slow decline of many of the park’s attractions.’ — travelshorts

 

Enchanted Forest, Ellicott City, Maryland

‘The Enchanted Forest officially opened on August 15, 1955, following a preview party the afternoon before — one month after Disneyland Park’s opening. Appealing mostly to families with small children, the park had a nursery rhyme theme. The park featured fairy tale buildings and characters, but no mechanical rides originally. Track rides were added later, including the Alice in Wonderland ride with teacup-shaped cars, a Cinderella’s castle ride with mice for the cars, the “Little Toot” boat that took children to Mount Vesuvius for giant slides, and the Jungleland Safari which was driven by open Land Rover-type vehicles. Unlike many other attractions of the time, the Enchanted Forest was integrated from the day it opened.

‘Admission was one dollar for adults and fifty cents for children. At opening, the park was 20 acres (81,000 m2), but it later expanded to 52 acres (210,000 m2). At the height of its popularity, the Enchanted Forest welcomed 300,000 children per summer season. the park closed for the first time in 1989. After turning more than half the land (primarily the parking lots) into the Safeway-anchored Enchanted Forest Shopping Center in 1992, JHP Development reopened the park for the 1994 summer season, predominantly for children’s birthday parties. The park was permanently shuttered in 1995. Part of the John Waters movie Cry-Baby, released in April 1990 and starring Johnny Depp and Ricki Lake, took place in the Enchanted Forest. It also appears in the horror movie Fear Of Clowns.’ — collaged

 

Chippewa Lake Park, Chippewa Lake, Ohio (1878 – 1978)

‘Chippewa Lake Park is an abandoned theme park once located in Chippewa Lake, Ohio, Medina County. It operated from 1878 through 1978, after the final owner, Continental Business Enterprises closed it due to lack of attendance. After the park’s closure, its rides and structures were left largely untouched and unmaintained for over 35 years.

‘In 1875, Edward Andrews organized a picnic ground and beach under the name Andrew’s Pleasure Grounds. The park operated with some success, but its condition deteriorated. With the addition of a steam boat and the park’s first rollercoaster, the amusement park was brought to life. The initial roller coaster had to be manually pushed up the track following each ride.

‘Mac Beach acquired Chippewa Lake in 1898 and improved the park immensely. He also placed a ban on liquor sales. Mac’s son, Parker Beach, managed the park during its boom years: The Roaring ’20s. During that decade, the first modern coaster was built at the park, designed by Fred Pearce. Originally named the Big Dipper, it became better known as simply ‘the coaster’. The park also featured a live band-stand seven nights a week. The park opened the wooden roller coaster in 1925. The coaster was a fairly small roller coaster, estimated to be about 50 Feet high. The coaster operated until the park closed in 1978. The coaster stood abandoned for over 30 years until it was demolished in 2010. The Beach family kept the park running successfully into the 1960s. Eventually, Chippewa Lake would feature three roller coasters, flying cages, a Ferris wheel, carousel, Tumble Bug, ballroom, and many other rides.

‘Chippewa Lake was acquired by Continental Business Enterprises in 1969, and the company developed plans to transform the park into more of a summer resort; these plans, however, drew very little public interest and funding and most of the plans were scrapped. The park would later close in 1978 – which was the park’s centennial season – under the company’s ownership, owing to factors like competition from nearby Cedar Point and the now defunct Geauga Lake amusement parks, as well as the decline of steel and rubber production in the surrounding areas. It was largely unknown to the public that the park’s 100th season would be its last; the park closed rather secretly without any big media coverage or massive public outcry. When the park shut down, former owner Parker Beach made a request to his family that he be buried there when he died, to which his family agreed.[citation needed] The site where Beach’s body is buried in the park is unknown. In the 2007 documentary, “Welcome Back Riders”, at the very end, it said Be respectful if you try to find Parker Beach’s Grave. Let him enjoy his park in peace. …It’s by the roller coaster.

‘After the park’s closure in 1978, the land the park was situated on was left largely untouched and all of the rides and buildings were left standing, in which up until the end of the 1990s the park remained in fairly good condition and some of the rides were still usable. By the 2000s, however, large trees began growing through rides like the coaster and the park’s ferris wheel, and several buildings had collapsed or been damaged by the effects of the elements. All of the structures in the park became rusted and rotted without any hopes of repairs.’ — Wikipedia

 

Welcome to Vollmar’s Amusement Park

‘Richard “Mike” Hofner, former owner of Vollmar’s Amusement Park, one of the last of a handful of privately owned parks in the Toledo area of Ohio that closed in 2000, died of cancer Wednesday in Hospice of Northwest Ohio, Perrysburg Township. He was 92. Mr. Hofner guided the amusement park for more than 25 years, drawing crowds to enjoy its vast facades and rides along the Maumee River in Wood County between Waterville and Grand Rapids.

‘The park kept going despite at least one brief closing because of rising costs and competition from bigger parks. Yet he never seemed to grow weary of the difficulties, Martha Rupp, his daughter, said. Even in his 80s, Mr. Hofner supervised preparation of barbecue chicken, served beer, and mowed the grass of the 66-acre park. He also hired students from Otsego High School for summer jobs.

‘He bought the park in 1963 and his late son, Joseph, ran day-to-day operations for many years. The seasonal park, which operated seven days a week during the summer, opened on Mother’s Day and usually closed in early October. “He could be bullheaded sometimes, but he knew things had to be done a certain way – and that’s the way he wanted them done,” his daughter said.’ — collaged

 

Miracle Strip Amusement Park, Panama City, Florida (1963 – 2004)

‘Miracle Strip Amusement Park opened in 1963 with the Starliner Roller Coaster as it’s main attraction. Located across from the beach in Panama City, the park did not look like your average theme park and resembled the traditional seaside boardwalks of the past. The park featured many of the typical rides you would find at any carnival nowadays including scramblers, bumper cars, a carousel, and a haunted house. Some of the rides, such as the Abominable Snowman and Dante’s Inferno, were enhanced by placing them in dome structures and adding lighting effects, temperature changes, smoke effects, and music.

‘In 2003, it was announced that the park would close the following year due to lack of interest, loss of money and increased expenses to keep the rides maintained and running. Many of the rides were either sold off or disappeared, some being found and reopened under the same name. Any of the remaining structures or rides that weren’t sold were later demolished.

‘In 2008, Pier Park opened down the street where Miracle Strip once stood, open-air dining, entertainment, and shopping mall. Teddy Meeks, a wholesale jeweler, sought to put a carousel in Pier Park. After much searching, in 2009, he found not only a carousel but the original carousel from Miracle Strip which has been sitting in storage on the old Miracle Strip property since 2004.

‘After a year in operation and officially named “Miracle Strip“, Pier Park approached Meeks with the idea of adding a Ferris wheel. He looked for the park’s original Ferris wheel which he found out was moved to Chattanooga, Tennessee and was also not for sale. Deciding on the next best thing, Meeks found an exact make and model of the ride in California. Soon after, the last two remaining rides from the Miracle Strip property, a 1985 Zamperalla Balloon Race and a 1952 Allen Herschell Red Baron plane ride, were bought and added to Pier Park.

‘In October 2010, news outlets reported that Teddy and Jenny Meeks along with two other partners had bought the Starliner roller coaster for $2 million and has started efforts to rebuild it. More recent sources though have reported that the Starliner sits in storage in Palmetto, FL and is still up for sale as of September 2012. The current owner, Ridewerks, have considered donating the Starliner train to the National Roller Coaster Museum but also said that another possible option was that Pier Park was still interested in maybe one day rebuilding the coaster.’ — Abandoned Florida

 

The abandoned and never finished “City of Toys”

‘Until 1962, Consonno was a small medieval town with an economy based on harvesting chestnuts and celery. It population never exceeded 300, and, though just an hour from Milan, its location in the hills of Brianza was remote, secluded, and peaceful.

‘Then came Mario Bagno. The count and entrepreneur saw Consonno and had a vision: City of Toys. The glitzy resort town he had in mind would be a Las Vegas-style ode to wealth and hedonism, with casinos, bars, clubs, shopping arcades, and hotels.

‘Bagno handed over 22.5 million lire and Consonno was his. The first indication many of its residents received about the impending development was the sound of a bulldozer making its way toward their homes.

‘Bagno razed every building but the church, its graveyard, and its chaplain’s house. He shifted the hills around to improve the view, dynamiting rock and building new peaks. The topographical alterations caused two landslides in 1966 and 1967, but construction work continued.

‘A man of mercurial moods, Bagno frequently changed his mind on how he wanted the City of Toys to look. His commercial gallery, topped with a minaret, resembled a mosque. It sat alongside a Chinese pagoda and a medieval castle. Occasionally Bagno would erect a building and then demolish it, his tastes having shifted during its construction.

‘The new Consonno enjoyed a brief heyday during the late ’60s and early ’70s, but it was not yet finished. Bagno envisioned a zoo, a racecourse, basketball courts, and mini golf. The additions never arrived — a landslide in 1976 buried Consonno’s access road, severing supply lines and prohibiting visitors.

‘The half-finished City of Toys has been a ghost town ever since. Bagno did make one last attempt to revive Consonno — in the 1980s he tried to convert it into an aged care facility. Construction began, but faltered, and when Bagno died in 1995, the idea was abandoned for good.

‘Consonno is officially a trespass-free zone following a 2007 rave that left its buildings damaged, trashed, and covered in graffiti.’ — Slate

 

Disney’s River Country, Bay Lake, Florida (1976 – 2002)

‘Disney’s River Country was a huge deal when it first opened back in June 1976. It was the first of the multi-billion dollar corporation’s water parks — and it made quite a splash. In its first few years, the park was filled with excited families and squealing children speeding down slides. It was described as an “old-fashioned swimming hole” with “a twist of Huckleberry Finn”, complete with rocks and man-made boulders.

‘In its first year, the theme park averaged 4700 guests per day.
Susan Ford, the 18-year-old daughter of President Gerald Ford, took the first official ride down the famous Whoop ’n Holler Hollow. The creators wanted to give families the sense that they were actually swimming in an open lake, and created a massive artificial mountain to suck up lake water, filter it and then empty it through the park’s slides into the pool.

‘A large rubber “bladder” was installed, inflated 15cm above the surface of Bay Lake, to separate it from the water park and ensure that unfiltered water could not pollute the swimming pools. Despite this, in 1980 tragedy struck — an 11-year-old boy from New York died in the park after contracting amoebic meningoencephalitis, a rare infection caused by amoeba found in Florida freshwater. The amoeba swam up his nose and attacked his brain and nervous system. The disease is almost always fatal, but Disney was largely absolved of blame.

‘According to an Associated Press report from 1980: “The two officials said there was no reason to blame Disney World for the tragedy because the amoeba can breed in almost any freshwater lake during hot weather. Officials have said there is no epidemic of the disease in central Florida, where all four cases were detected. Disney officials said there was wasn’t much they could do. “‘We are of course concerned and sensitive to any potential health or safety hazards to our guests,’ said Disney spokesman Charles Ridgway. ‘I don’t know of any action that could be taken as a result of this.’ “Ridgway emphasised that Disney World conducts a thorough program of water quality control in co-operation with health officials,” reported AP.

‘In 1982, disaster struck again. A 14-year-old boy from North Dakota drowned in the resort after dropping into the lake at the end of the Whoop’n Holler slide. The boy’s family sued the corporation, saying there was no sign posting about how deep the water was. After one of the park’s lifeguards attested that dozens had to be rescued from the ride each day, the family received $US375,000 in compensation. In 1989, a 13-year-old teenage boy from Florida also drowned at the park.

‘Every year, the water park closed in September for the winter and reopened in April. But in 2002, that changed. “Walt Disney World’s first water park, River Country, has closed and may not reopen,” the Orlando Sentinel reported that year in April. Since then, the resort has been left to rot — filled with overgrown moss, dilapidated offices and abandoned rusty water slides covered in vines. Disney World spokesman Bill Warren stated that River Country could be reopened if “there’s enough guest demand” — but no one has set foot inside since.’ — news.com.au

 

Big World Land, Sweden (? – 2012)

‘Welcome to the Big World Land in 2016, several years after its closing time. We were very surprised to discover a lot of things. We saw a watchman at the entrance so we had to be discreet and try not to attract attention. We walked across a small forest, it should be the zoo before because we saw several animal pens. We were glad to discover a huge statue with an exceptional view of the park. This is one of our best exploration in an abandoned park, without Ferris wheel but much less touristy than Spreepark. We were alone to go up the steps of the slide. We walked in the “Wild West” part of the park with saloons and many statues to finally arrive in the Pirate’s Island. Very well preserved, this abandoned amusement park was a beautiful exploration, which was stopped by the Jeep of the watchman. We left the park and run to the exit to save all our 200 photos.’ — Urbex Session

 

Dadipark, Moorslede, Belgium (1950 – 2008)

‘Originally built in 1950 as a playground for the children of pilgrims visiting the nearby basilica, by 1980 the schoolyard equipment had been replaced with amusement rides and opened to tourists and those in town on pilgrimage. For a time the park enjoyed great success, entertaining a million visitors during its peak year, and for a time containing what was, at 800 meters, the longest monkey bridge in Europe. However things took a turn for the worse as the increasingly rundown rides became more and more hazardous. Finally in 2000 a boy lost his arm on the Nautic Jet ride, and by 2002, the site was closed down for “renovations.” Unfortunately these improvements never took place and the park was simply abandoned, never to reopen.

‘Today the park lies in shambles, slated for demolition since 2011. Most of the larger rides were demolished, but many of the buildings and simpler attractions remain. Where Dadipark was built to cater to local Catholic children and religious tourists, the rusting site only ended up catering to pilgrims as urban explorers. Unfortunately Dadipark was demolished, and plans are underway to turn the site into a hiking park.’ — atlas obscura

 

 

Wonderland Amusement Park, Beijing (never opened)

‘The Wonderland Amusement Park on the outskirts of Beijing was planned as the biggest theme park in Asia, spanning a massive 120 acres. Located in Chenzhuang Village in the Changping District, the never-completed amusement park was just 20 minutes away from Beijing. It was conceived by the Thai-Chinese property developer Reignwood Group with hopes of drawing from a population of over 20 million people. Reignwood already had significant interests in China including the distribution rights to the Red Bull energy drink. It was hoped that Wonderland could become the flagship property of the company’s portfolio.

‘Alas, it wasn’t to be. In 1998, construction was stopped suddenly and the site left abandoned. Rumours about why the builders left swept the country with some saying that the area was haunted while others suggested the finding of mass graves. The truth was a case of simple economics. Those involved in the project simply ran out of money and when additional sources of income were not forthcoming, Wonderland was left in a half built state, decaying and derelict.

‘The original idea for the park was to create a Disneyland style theme park for China and the castle at the centre of the theme park is reminiscent of the Sleeping Beauty and Cinderella castles in Disney parks around the world. Other themed areas had similarities to Disney’s theme parks and it was suggested that the designers simply copied the designs thinking that the Disney company wouldn’t be able to protest against their copyright usage in China. What they weren’t expecting was that Disney were in talks with the government of Hong Kong to build a park there. The agreement was signed in 1999, a year after China’s Wonderland became abandoned and unfinished. Disney were later to announce a park in mainland China with Shanghai Disneyland beginning construction in 2011. It opened in June 2016.

‘In the years following the abandonment, the farmers in the area surrounding the proposed theme park simply reclaimed the land for themselves and began raising livestock and growing crops amongst the unfinished attractions. The remains of the castle, which was to be the centrepiece of the amusement park, towered over them leaving a stark reminder of the Wonderland that never was. Being the the largest and tallest structure in the theme park, the castle suffered most due to exposure to the inclement weather of the region with parts of the partially built building collapsing into rubble as the years progressed. The other buildings such as a medieval themed village began to become overgrown with vegetation and nature began to reclaim the area. Many superstitions arose from the story of why the builders left, including that of ghosts haunting a burial site which had been unearthed during construction. Economically though, the amusement park simply seems to have been a victim of China’s property bubble.

‘Attempts were made to revive the project in 2008 but those efforts stalled. China’s Wonderland was eventually demolished in 2013. Attempts by Reignwood Group to build a luxury goods supermarket never materialised and eventually, a shopping mall called The Badaling Outlets was opened in Summer 2015.’ — World Abandoned

 

Taman Festival, Bali (1997 – 1998)

‘Taman Festival in Sanur, Bali was created with the vision of giving Disneyland a run for it’s money. So, you can only imagine the grand scale of things planned for this amusement park. Taman Festival was briefly opened in 1997 featuring the biggest inverted coaster in the world, 3D cinema, biggest swimming pool in Bali, majestic laser shows and heck even a huge volcano and crocodile pit!!!!

‘As destiny would have it though, in less than a year on Friday the 13th (no less), Taman Festival’s million-dollar laser equipment, was struck by lightning.

‘In the time of economic recession, no one could really afford to rebuild, take ownership or bear the losses. Since then, it has just remained a vast, vacant, piece of land.

‘As for the crocodiles, it is said that they were simply left to roam free. Some villagers fed them chickens regularly but slowly they turned into cannibals. No one really knows what happened in this huge abandoned space in the last two decades, but I would say there is something off-putting here, for sure.’ — Wander with Jo

 

Glück Kingdom, Hokkaido, Japan (1989 – 2007)

‘The once grandiose Glück Kingdom in Hokkaido, Japan, was inspired by the tales of Jacob and Wilhelm Grimm, the Brothers Grimm, who published folklore stories including Little Red Riding Hood and Hänsel and Gretel.

‘The attraction that opened in 1989 was designed to allow Japanese people to get a glimpse of what medieval Germany was like, without leaving the country. To guarantee its authenticity, replica German statues and materials were imported, including a 400-year-old granite pavement from Berlin and Dresden.

‘Guests could stay on the resort in bedrooms much like Disney World. But since closing a decade ago, the attraction is now far from a fairy-tale. The once majestic mansion is now mould-ridden, the furniture covered in fluorescent fungus and the castles are covered by overgrown forestry.

‘It was very impressive to see they copied German buildings and even moved old buildings from Germany to Japan. They made exact duplicates of statues with casts and certificates in Germany and shipped them to Japan. They even imported 400 year old granite pavement stones from Berlin and Dresden to reproduce the medieval pavement, everything had to be perfect.

‘They hired German professionals and specialist to build and paint the German buildings. It must have been like the Sleeping Beauty fairy tale in real life, it even has a fairy tale castle. It would have been a crazy project, which involved a lot of money and effort, but now certain parts are very decayed.

‘Vines are growing against the castle and there is mould, grass and fungus taking over the interior. Offices with the green mould carpet were one of the most impressive parts, everything was still in the exact same place as when it closed. There unopened letters, cups of coffee and other things to suggest this.

‘The castle has 67 different hotel rooms from one to five star ratings, all in a Baroque style, with fine custom made Italian furniture. Some rooms are still in a good condition while other are completely decayed. Artists and builders were hired to ensure the site replicated Germany as closely as possible. Some copies of iconic places include: Schloss Bückeburg, Hanau’s city hall, Röder Gate of Rothenburg, Prince Maximilian’s villa and Grimm’s House.’ — Caters Clips

 

 

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p.s. RIP Eli Hayes ** Armando, Hi. Oh, yeah, I’m a smoker. Yes, I like the Marais very much. I lived there for a year, and I wish I still did. I hope you have a very good day! xo ** Niko, Hi, Niko! It’s very nice to see you! I’m very happy to talk about Tim if you ever want me to talk about him. Great news about your novel! Publishing your first novel is really an amazing thing. Wow, cool. I look forward to reading it. What you say about it is extremely intriguing. Do you know when it’ll be published? Uh, yeah, being asked to conventionalise. I’ve been going through that that with a recent project to a degree that’s been soul destroying and pretty much killed the project off. Well, as long you’re confident that your systems are working as well as you need them to, it should be okay. It’s always hardest with the first novel. After you’ve published one, publishers tend to start to accept that you know what you’re doing and trust you, and/or they accept that you’re serious and cease trying to shape your work into something easily recognisable. Or it can go that way, and does. Main thing is … your first novel! Wonderful news! Take care, and good luck with the final editing. ** Misanthrope, Hi. Well, if you read the ‘Powerless’ collected book, that’s most of what Tim wrote. Sadly. I’ve never seen ‘Dukes of Hazard’ either. I guess I was into some other strain of TV when it was on, I don’t remember. Now ‘Let the Music Play’ is a terrific track. Well, I mean I don’t believe you didn’t see a photo of Leif Garrett when you bought that record, dude. Your taste couldn’t have been that shitty. Man, sending very good luck to your mom (and you). Yeah, get that taken care of. Ugh. Sorry, George. ** David Ehrenstein, Hi. Lovely words/thoughts about Varda. I’m staying away from the Woody Allen thing, or, rather, from talking about it since that just asks for heated rhetoric but … Everyone, Mr. E. does a Woody Allen-related thing on his FaBlog under the title ‘Aged in Woody’ right here. ** Bill, Oh, goodness. Yes, familiarising yourself with Varda’s films is a very good idea. No, it’s true people will every once in a rare while see a Little Caesar book either priced-up in a rare bookshop or for next to nothing at some used bookstore that doesn’t know what it is. If I do go the ‘V/H/S’ route, I will follow your instructions to the letter. Right, Memorial Day, totally forgot. Strange. I think it was a normal, holiday-unimpaired weekend here. Quiet and fine. ** wolf, Wolfie!!!! Indeed, I strangely had not made a full Varda shebang before, although some of her films have been noted here in Days about some of her actors. Wonderful reverie about her. When I first moved here, one could mosey to her storefront in Montparnasse and potentially catch her there and hang out with her, but I never did, stupidly. I think Zac might have once, I can’t remember. Yeah, I think ‘Wrong’ comes out on June 1st or something. Really soon. Yikes! Diarmuid, as far as I know, is in his apartment in Cambridge. You know he teaches there, right? We’re not locked down anymore, or not for now. We can do anything as long as we stay apart and don’t want to drink coffee or eat out or see anything cultural, which does make Paris seem not really like itself, although, otherwise, it feels quite normal in a weird way. You get used to the mask thing and the hands washing thing pretty quickly. Definitely a boon. I guess you guys’ll be there soonish, although, fuck, your government … what can I say. I hope your weekend really panned out. Aw, a big old Varda hug bearing love with a Hazmat overlay to you, my pal! ** Jonathan, Hi, J! I got the Harry Dodge book and started it. It’s terrific. Really good writing. I’m still brokenhearted about Baldessari’s dying. He was really mega for me, and the sweetest guy in the world too. Diarmuid’s book starts with a whole thing about me discovering Baldessari’s work as a teen and what a big impact that had on me. Yes, after I made the post, I saw that about the Varda Criterion boxset. Fantastic! My weekend was lowkey and A-okay. What’s on your day’s agenda and your horizon? ** EM Kanskje, Hi! Welcome, and thank you a lot for commenting. My great pleasure, obviously, about the post. Totally about ‘The Gleaners’. Yes, thank you for the link, let me … Everyone, EM Kanskje shares the news that Criterion Collection has a big box set of Agnes Varda’s films coming out in August, and that prospect is killer, clearly, and you can read about it and preorder it here. Thank you again, and, of course, please come back any time. Take care. ** Steve Erickson, Hi. Oh, cool, I didn’t know that. Everyone, Mr. Erickson has a hot tip: ‘Rarefilmm is streaming Varda’s NAUSICAA, which was never publicly shown during her lifetime. Apparently, she destroyed the negative featuring political repercussions from the Greek government, but it’s been restored and will be included in the Criterion box set.’ Wonderful about Veselka. You’re bit ahead of us over here with that one. It’s also sad because ‘Faces Places’, while lovely, is far from being her best work, if you ask me. ** _Black_Acrylic, Hi, Ben. It’s hard to imagine anyone with brains, and of course that includes your parents, not being charmed or even very taken with an Agnes Varda film. ** Right. It’s been ages, or it feels like it, since I indulged my love of amusements parks, so I restored this resonant oldie to end the dry spell. Enjoy, I hope. See you tomorrow.

Agnes Varda Day

 

‘Over the last decade, Agnès Varda has reinvented herself spectacularly, most recently as a flamboyant installation artist with her exhibition ‘L’Ile et elle’ filling the ample space of Paris’s Fondation Cartier in 2006. Earlier she found a new lease of life as a digital film-maker, eagerly seizing on the first-person possibilities of the camcorder in her 2000 documentary The Gleaners and I – an essay on the economic and artistic activity of foraging and recycling, of which ‘L’Ile et elle’ itself proved a triumphant example. Among that exhibition’s acts of gleaning is the object in which Varda stands at the end of her newest film The Beaches of Agnès – a hut constructed from a discarded print of one of her films. Thus Varda can mean it both literally and figuratively when she concludes that she inhabits cinema.

‘Agnès Varda’s work is often connected to the French New Wave, and her early films were clear precedents for the stylistic tendencies which the New Wave directors delineated. However, her work remains particular to her own unique perspective on the world, resisting the paradigms of movements in art and film. The themes and issues in her films focus on eroticism and age, death and time, the collective unconscious, and the presentability of social taboos. Her work is distinct from the French New Wave also for its crossing of genres, as she is known as much for her documentaries and shorts as for her feature-length dramas. Not limiting herself to the borders of France, her films have been shot in a variety of locations, including the United States, Cuba, and Iran.

‘Between 1968 and 1970 she lived in Los Angeles and made a Hollywood hippy movie called Lions Love. She is the first director to become interested in Harrison Ford. It is during that time also that she met Jim Morrison, singer of the band The Doors. In fact, she ended up being one of the five people to have been at Morrison’s funeral in Paris’ cemetery Père-Lachaise in 1971. Once back in France she directed an optimist feminist movie: L’une chante, l’autre pas. In 1971 she is one of the 343 women to have signed the “Manifesto of the 343” thereby admitting to have had an abortion and making themselves vulnerable to possible prosecution. Varda went back to live in Los Angeles from 1979 to 1981 and during that time made two documentaries: Murs, murs and Documenteur.

‘Varda’s career itself represents a crammed micro-history of modern French bohemianism: from post-student flânerie in Corsica, through the advent of the nouvelle vague, through the political activism of the 1960s and 70s… She may have missed May 1968 in Paris, but she was chronicling radicalism elsewhere: immersing herself in Californian hippie culture and photographing the ascendant Black Panther movement. Varda’s role as feminist film-maker, and as feminist being, is reasserted with pride: One Sings, the Other Doesn’t (1976) might have been her ‘official’ feminist film, but using images of Sandrine Bonnaire to counterpoint memories of her own militancy, Varda also highlights the ferocious engagement of her 1985 film Vagabonde (Sans toit ni loi).

‘Agnès Varda has always been ahead of her time – in filmmaking technique and style and also in political commentary. Just as The Gleaners and I is a contemporary look at capitalism and urban life and utilises the latest in digital cinematography, Kung-Fu Master sits comfortably alongside other dramas of the ’80s including those of Loach, Bergman and Greenaway. Uncle Yanco reflects the bohemian, drug-taking, moral ambivalence of the late ’60s and Cléo de 5 à 7 displays a French obsession with cars, fashion and identity. Agnès Varda is grandmother to the world community of filmmakers. At 74 she has a good perspective on a life which has given her breadth of filmmaking experience, it is hardly surprising she keeps going. “I think communication is difficult but essential and not just in love, but in work, in the relationship with one’s children, in one’s general attitude” There is some accepted wisdom which says, people only ever write the same book or film script over, but Varda has produced at least one unique gem for each of her five decades as writer, director and cinematographer. Her body of work cannot be described by genre, let alone fiction or reality. One imagines The Gleaners and I may well be her last film offering but as she has shown herself to be still so full of curiosity and zest for life, she may well have more to say.’ — collaged

 

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Stills


































































































 

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Further

Agnès Varda @ IMDb
Agnes Varda Page @ Senses of Cinema
DVD: ‘4 by Agnes Varda’ @ The Criterion Collection
Agnes Varda’s films on mubi
‘Women in Film: That Object Named “Desire”‘
Agnes Varda interviewed @ Interview
Agnes Varda interviewed @ BFI
Tim Sternberg on Agnes Varda’s ‘Ulysses’
Emmanuel Levy on Agnes Varda
‘Multiculturalism In The Films Of Agnes Varda’
500 Words: Agnes Varda @ Artforum
‘The Grandmother of the New Wave’
‘Agnes Varda’s Open Harbour’
‘A Girl and a Gun: Agnes Varda and the Origins of Godard’s Breathless’

 

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Her


Agnes Varda interviewed & profiled in 1956


Agnes Varda & Susan Sontag in discussion in 1969


Agnès Varda ‘The Things We Leave Behind’ (2004, part 1 of 6)


Agnes Varda on poetry and film (2010)

 

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Interview

from The Believer

 

AGNÈS VARDA: I should say nothing! I’m through with it! I hate to repeat myself all the time. I cannot invent totally. I cannot say something different to one person and then another. I cannot make it totally different each time, you know. I say so much in the film and so much even in the press kit! I quoted Montaigne. So I would say, can we have subsidiary questions, or side questions? Can we speak about the weather? Or the tennis that I watch in my room?

THE BELIEVER: It’s so nice to see that you have had the same haircut always, because I’ve had the same haircut all my life, and I always try to change it but it’ll never change.

AV: I remember when I tried it. I was nineteen and I put a bowl on and I said, Cut around! Because it was not the fashion at the time when I did that hairdo—and I kept it all my life! At the time of Cléo I grew it a little more, and when Jacques died I grew a bit here. [She pulls out a strand.] I made a braid because Chinese old people, they say that the God will take you by the hair to join you with—but God didn’t take me, so I cut the braid. Now it’s the same hairdo but it has two colors—come on! It’s different! It’s like an ice cream of chocolate and vanilla! I tried a wig. I hated myself totally white. So now I cheat. It’s my white hair, and I put color there. My grandson says I’m punk. I tell you—better they laugh about their grandmother than think she’s a bore. Some grandmothers are really boring! They ask, Ah ha ha—did you do this?—be careful—put your sweater on! C’est ça. So, in a way, we try to please them somehow.

BLVR: You had a remarkable career in an age when women didn’t have careers—

AV: I had a world. I don’t think I had a career. I made films.

BLVR: Yes, it would be odd, thinking of cinema as an extension of life as you do, and at the same time thinking of it as a career or trying to make a place in history.

AV: I don’t try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time. It happened because of La pointe-courte, which is a very strange film, but very daring for ’54.

BLVR: How did you get started?

AV: I was a photographer first. I went alone to China—not alone, I was in a group, but I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn’t think I should do less than my brothers. But I wouldn’t be courageous in terms of a physical thing. I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn’t cross the ocean. I think it’s ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do. I did not think that woman would be restrained. I never saw that, especially not in filmmaking, where you don’t have to be strong. You have to be strong to be a carpenter, maybe, but the director of a film doesn’t need to have muscles. This is why I didn’t know why I couldn’t do it.

When I started my first film, there were three women directors in France. Their films were OK, but I was different. It’s like when you start to jump and you put the pole very high—you have to jump very high. I thought, I have to use cinema as a language.

When I saw what painting had done in the last thirty years, what literature had done—people like Joyce and Virginia Woolf, Faulkner and Hemingway—in France we have Nathalie Sarraute—and paintings became so strongly contemporary while cinema was just following the path of theater. Theater! I mean, psychology and drama and dialogue and making sense! At that time, when I started, in the ’50s, cinema was very classical in its aims, and I thought, I have to do something which relat
es with my time, and in my time, we make things differently.

(continued)

 

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21 of Agnes Varda’s 56 films

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La Pointe Courte (1955)
‘The great Agnès Varda’s film career began with this graceful, penetrating study of a marriage on the rocks, set against the backdrop of a small Mediterranean fishing village. Both a stylized depiction of the complicated relationship between a married couple (played by Silvia Monfort and Philippe Noiret) and a documentary-like look at the daily struggles of the locals, Varda’s discursive, gorgeously filmed debut was radical enough to later be considered one of the progenitors of the coming French New Wave.’ — Film Struck


Excerpt

 

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Cléo from 5 to 7 (1962)
‘Varda’s international breakthrough film, Cléo shows, in real time, an hour and a half in the life of a singer traveling across Paris while waiting for the results of a biopsy. Vain, childish and selfish at the start, Cléo’s journey through Paris becomes a journey of self-discovery –she transforms in the course of the film from a passive woman, on whom others project their expectations, into an active participant in her own life. Cléo’s movements through the city embody this metamorphosis—while the film’s first half is dominated by a shopping excursion through glittering, mirrored surfaces that reflect and refract her, in the second half, Cléo literally sheds her false image in order to actively observe the city, culminating in her spontaneous friendship with a soldier on leave.’ — MoMA


Trailer


Excerpt


Agnès Varda discusses Cléo from 5 to 7 in 2004

 

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Happiness (Le Bonheur) (1965)
‘Unlike the bulk of Varda’s work, Happiness, with its highly stylized form and refusal to explore the psychology of its characters, is completely removed from reality, rejecting any of Varda’s usual documentary or self-reflexive elements. It is also Varda’s most controversial work, revolving around a blissfully happy family man (Jean-Claude Drouot, appearing with his real-life wife and children) who decides, with uncomplicated ease, to expand upon his happiness by taking a mistress. Set in an idyllic landscape of leisurely country picnics and shot in cheerfully vibrant colors, there is nonetheless a distinct chill detectable underneath the film’s relentlessly sunny exterior. Although Varda resists any simple moralizing, she has said of Happiness, “I imagined a summer peach with its perfect colors, and inside, there is a worm.”’ — Harvard Film Archive


Trailer


Excerpt


Excerpt

 

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The Creatures (1966)
‘“Les Créatures” (The Creatures) is yet another reminder that film history is subject to the vagaries of availability and that work by great women filmmakers is all too often written out of it. In the early nineteen-sixties, when François Truffaut was planning to make his adaptation of Ray Bradbury’s novel “Fahrenheit 451,” he worried that French filmmakers didn’t do science fiction well. Varda’s film, which came out in France two weeks before Truffaut’s, proved his hesitations wrong exactly as his own film did. Above all, no less than Truffaut, Varda transformed science fiction into a subject in her own image—she did so even more radically and more personally, and the extremes of her ideas may be exactly why “Les Créatures” has wrongly fallen by the wayside of film history.’ — Richard Brody


Trailer

 

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Uncle Yanko (1967)
‘In her effervescent first California film, Agnès Varda delves into her own family history. The short documentary Uncle Yanco features Varda tracking down a Greek emigrant relative she’s never met, discovering an artist and kindred soul leading a bohemian life in Sausalito.’ — The Criterion Collection


the entirety

 

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Black Panthers (1968)
‘Varda’s half hour documentary on the Black Panther Party centers on a “Free Huey” rally held in Oakland. The film combines footage of the rally and Black Panther training exercises with interviews with Panther leaders such as Huey Newton (speaking from his jail cell about solitary confinement) and Kathleen Cleaver, who passionately defends the group’s militancy. Varda is clearly sympathetic to the Black Panthers’ politics, but she restrains her efforts as a director in order to let the Panthers speak for themselves. If anything identifies this as a Varda film, it is its attentiveness to the role women and feminine rhetoric (the camera repeatedly zooms in on the hands of women as they talk) played in the organization and vitality of the often excessively-masculine Panther party.’ — Retentional Finitude


Excerpt


Excerpt

 

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Lions Love (1969)
‘Andy Warhol discovery Viva, filmmaker Shirley Clarke and Jerome Ragni and James Rado, the creators of Hair, play themselves in Varda’s vision of Hollywood and the sexual revolution. Structured as a playful film within a film, Varda repeatedly punctures the cinematic illusion by discussing scenes with the actors from behind the camera and at one point appearing briefly, to show Clarke how to act out a suicide attempt. Combined with footage of Bobby Kennedy’s assassination and the shooting of Andy Warhol, Lions Love is a time capsule of free love and its consequences. Look for cameo appearances by Peter Bogdanovich and Jim Morrison, among others.’ — Cinematheque Francaise


Trailer


Excerpt

 

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Daguerréotypes (1975)
‘One of the great modern documentaries, Agnès Varda’s 1976 portrait of shopkeepers on the street where she lives—Rue Daguerre, in Paris—established a new genre, affectionate anthropology. Starting with the quirky pharmacy where her teen-age daughter, Rosalie, buys homemade perfumes, Varda peeps in on the rounds of commerce that keep the street vital. In the process, she exalts the sights and sounds, the very savor of daily life—the crust of fresh-baked baguettes, the alkaline allure of fresh-cut steaks, the sumptuousness of hand-stitched fabrics. She also sees what makes the street run: money (five francs for a cutlet, ninety centimes for evaporated milk) and the migration from the countryside to the city in pursuit of it. Observing traditional crafts and trades with loving fascination, Varda empathetically evokes their paradoxes—the depth of practical knowledge, the lack of variety in experience. These small-business owners (mainly long-married couples) may have no bosses, but they’re tethered like serfs to their shops; even their dreams are colonized by the crush of daily details. Meanwhile, scenes of a local magician at work in a café hint at the origins of Varda’s own enticing craft.’ — Richard Brody


Trailer

 

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One Sings, the Other Doesn’t (1977)
‘Varda’s most overtly feminist film, One Sings, the Other Doesn’t follows the lives of two very different women over the course of two decades: Pomme, a middle-class rebel whose singing career coincides with her radicalization and Suzanne, a young working-class mother whose financial hardships bring about her activism. Out of their friendship, Varda crafts a buoyant portrait of French feminism in the 1970s, capturing the optimism and energy of the moment. While the utopian period captured by the film has surely passed, the delicacy of Varda’s approach renders the film a timeless and poignant reminder of an age past.’ — Sight & Sound


Opening credits


Excerpt

 

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Mur Murs (1981)
‘After returning to Los Angeles from France in 1979, Agnès Varda created this kaleidoscopic documentary about the striking murals that decorate the city. Bursting with color and vitality, Mur Murs is as much an invigorating study of community and diversity as it is an essential catalog of unusual public art.’ — The Criterion Collection


Excerpt


Excerpt

 

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Le Documenteur (1981)
‘This small-scale fiction about a divorced mother and her child (played by Agnès Varda’s own son) leading a quiet existence on L.A.’s margins was made directly after Mur Murs, and though Documenteur is different in form and tone from that film, the two are complexly interwoven, with overlapping images and ideas. This meditative portrait of urban isolation overflows with subtle visual poetry.’ — The Criterion Collection


Trailer

 

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Vagabond (1985)
‘Anchored by Sandrine Bonnaire’s remarkable performance as a woman whose refusal to be known or understood pushes her into total detachment from society, Vagabond was Varda’s biggest success since Cléo and, like the earlier film, uses the trajectory of its itinerant female protagonist as a structuring device. Shot in a semi-documentary style, the film opens abruptly on the body of Mona, frozen to death in a ditch on the side of the road. Interspersed with flashbacks of Mona’s life as a drifter are reminiscences by the people she met along the way. In spite of Varda’s attention, Mona ultimately remains unknowable, even to herself. She is a cipher, misunderstood by those she has encountered even as they recall their impressions and interactions with her for the camera.’ — Criterion


Trailer


Excerpt


Excerpt

 

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Jane B. by Agnes V. (1987)
‘Jane B. is London-born actress and recording star Jane Birkin. Agnes V. is Belgian filmmaker and “grandmother of the New Wave” Agnes Varda. Jane B. Par Agnes V is a cinematic recounting of Birkin’s career, from her breakthrough appearance as one of the nude models in Blow-Up to her pinnacle as star of such films as La Femme de Ma Vie (1986). It is also the story of Birkin and Varda’s close relationship, made stronger by their mutual admiration and their lifelong fascination with feminist themes. Viewers who prefer straightforward, objective documentaries rather than radicalized film techniques, may not appreciate Jane B. par Agnes V.— Hal Erickson, Rovi


Excerpt


Excerpt

 

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Kung-Fu Master (1987)
‘Developed from an idea Jane Birkin shared with Varda while making Jane B. par Agnes V., Kung Fu Master stars Birkin as a forty-year old divorced woman who falls in love with her teenage daughter’s video game obsessed friend. By presenting Birkin’s desire without passing judgment, Varda evenhandedly explores a potentially explosive subject with a seriousness not usually granted to female fantasies. Although told as a straightforward narrative, the onscreen relationships are complicated by their offscreen associations: Birkin’s object of affection is played by Varda’s son, Mathieu, and Birkin’s daughters, Charlotte Gainsbourg and Lou Doillon, play her daughters in the film.’ — Harvard Film Archive


Trailer

 

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A Hundred and One Nights (1994)
‘This homage to the cinema by venerated movie-maker Agnes Varda, a 40-year veteran of the French film industry, features an all-star international cast. The story is based upon the memories and insights of the 100-year-old Mr. Simon Cinema. He is in a wheelchair and lives in a magnificent house filled with movie memorabilia. To help him remember the important details of his career he hires Camille, a film student, to write down his remembrances and experiences which have involved all areas of movie-making. Camille comes once a day for 101 days. Film clips, photographs and actual visitors highlight his stories. As he continues to spin his yarns, the imagery in the film smoothly morphs into other images. Camille, when not recording, is involved in other exploits including a romance with a production assistant, Mica, who aspires to become a director. She also begins plotting a way to get to Mr. Cinema’s fortune by having a friend pose as his long lost heir. Many other characters are peripherally involved including Death, an Italian seeking the rights to his film catalogue, and a memory specialist.’ — LDiC


Trailer


Compression

 

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The Gleaners and I (2000)
The Gleaners and I takes its title, and some of its inspiration, from an 1867 painting by Jean-Francois Millet that shows three women in a wheat field, stooping to pick up sheaves and kernels left behind after the harvest. The image is well known; it appears in the Larousse Dictionary of the French Language alongside the definition of the verb ”glaner” (to glean). The painting itself, which hangs in the Musee d’Orsay in Paris, shows up early in Agnes Varda’s wonderful documentary, thronged by camera-wielding tourists. The painting — or, more accurately, the activity it depicts — sent Ms. Varda, a warm, intrepid woman in her early 70’s and one of the bravest, most idiosyncratic of French filmmakers, on a tour of her own. From September 1999 until May of this year, she crisscrossed the French countryside with a hand-held digital video camera and a small production crew, in search of people who scavenge in potato fields, apple orchards and vineyards, as well as in urban markets and curbside trash depositories. Some are motivated by desperate need, others by disgust at the wastefulness all around them and others by an almost mystical desire to make works of art out of things — castoff dolls, old refrigerators, windshield wipers — that have been thrown away without a second thought.’ — NYTimes


Excerpt


Clips

 

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The Beaches of Agnès (2008)
‘If you have not seen a single film by Agnes Varda, perhaps it is best if you start with The Beaches of Agnes. You don’t need to know anything about her work. She has a way of never explaining very much, and yet somehow making it all clear. She does this by not treating her life as a lesson in biography, but as the treasured memories of friends. This is not an autobiography, although it is about her lifetime. She closes it by saying, “I am alive, and I remember.” The film is her memories, evoked by footage from her films, and visits to the places and people she filmed. But that makes it sound too straightforward. The film is a poem, a song, a celebration. Although she is in robust good health, she accepts, as she must, that she is approaching the end, and je ne regrette rein. — Roger Ebert


Trailer


Excerpt

 

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The Little Story of Gwen from French Brittany (2008)
‘The biographical short “The little story of Gwen from French Brittany” is a film about friendship and Gwen Deglise and the Director’s first meeting in France many years prior, Gwen’s journey to Los Angeles, and her eventual discovery of the American Cinematheque in LA, where the women reunite many times over the years to celebrate film.’ — AC


the entirety

 

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Un salut à Henri Langlois (2014)
‘À l’occasion du Centenaire Henri Langlois, Agnès Varda raconte un souvenir.’ — CF


the entirety

 

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Les 3 Boutons (2015)
‘“Miss Jasmine! I have a package for you!” The 14-year-old girl with braces takes a break from milking the goat. Her local postman has delivered a surprise. She opens it up. Out floats a magical magenta ball dress ten times her teenage size. “I am curious,” she says, and enters the folds of the dress. From here, Jasmine⎯headstrong, a dreamer, a realist⎯takes us on a modern anti-fairy tale through caves and stalagmites, streets and shop windows, obsessions and everyday empowerment. Les 3 Boutons is directed by the legendary 87-year-old Agnès Varda.’ — Miu Miu


the entirety

 

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w/ JR Faces Places (2017)
‘Agnès Varda, whose unique cinematic vision since the 1950s has earned her a loyal following of enthusiastic cinephiles around the world, and the iconic photographer/ muralist JR, boasting over a million followers on Instagram, have more in common than one might imagine. Both share a lifelong passion for images and how they are created, displayed, and shared. Agnès chose to explore her passion through cinema and documentary, JR through his emotionally arresting open-air photo installations. When JR, a long-time fan, went to meet Agnès at her home on Rue Daguerre, they both knew immediately they wanted to work together. FACES PLACES documents their heart-warming journey through rural France and the unlikely, tender friendship they formed along the way.’ — Madman Films


Trailer


Excerpt


Excerpt

 

*

p.s. Hey. ** Armando, Hi. Cool, and thank you. A favorite spot in Paris? Hm, I can’t think of a particular spot. I love the 10th arr., and I love being there in general. Cafe … I seem to always end up at this cafe called La Favorite near the St. Paul metro station, so I must like it particularly. Today’s plans … mm, buy food and cigarettes for the weekend. Maybe see Gisele. Go see if any art galleries have reopened. Work on a GIF thing I’m in the midst of. Not sure what else. You? ** Jonathan, Hey, Mr. M! Awesome to see you! Damn, that’s your photo! I found it doing a google search and swiped it without checking out its source, oops. I heard about the MUBI windfall, and I intend to see what kind of booty France has been allowed today. The last time I saw Zac he had just started to read Harry Dodge’s book. I haven’t read it yet although it’s on my list to buy on a planned bookshop outing this weekend. I flipped through Zac’s copy, and it looks to be really great. Are you reading it? ** David Ehrenstein, Hi. ‘Centurions of Rome’ is nuts. Yeah, boy, they don’t make them like that anymore. There were some crazy, ambitious ones back in the 70s. I remember one called, I think, ‘Ghost of a Chance’ that was about some hunk who died and came back as a ghost to fuck all the guys he’d wanted to when he was alive, and the porn was mostly boys bouncing around solo on beds trying to simulate that they were have sex with an invisible partner. And so many weird other films. ** Tosh Berman, Hi, Tosh. Thank you so much for saying that, man. I don’t think I even have a full run of Little Caesar Magazine anymore. I think I gave my only copies of a couple of issues to Fales Library for my archive. Big honor if LC had any help in inspiring you to do TamTam. ** Niko, Hi, Niko! I’m good. Things in Paris are upswinging at the moment *knock on wood*. Cool you found a copy of ‘Coming Attractions’. Tim Dlugos and I were very close friends. And he turned me on to a lot of the young poets in NYC who ended up being close friends and whose work I published. Mm, he was sensitive and warm but also very witty. Great personality. He was kind of the center of the poetry/fiction/art scene in NYC for a while, introducing everyone to everyone else. I’ve often said that an oral biography of him would be key to understanding NYC downtown culture in the 80s, but it has never happened, and so many of our mutual colleagues are dead now. Amazing guy. Hugely missed. My new novel is definitely very personal and emotional. I think it might feel more raw than my others, but it’s just as heavily schemed out and structured. I hope you’ll like it. Thanks a bunch for coming in here. I hope you’re doing really well. Are you? ** Jeff J, I’m glad it worked, and thanks for being its impetus. It was good to do. Yeah, I’m a pretty busy worker/creator even now, but it’s hard to imagine how I could have done Little Caesar, which was an entirely one-person operation, and run the Beyond Baroque events, and also write my own work at the same time. Weird. Sure, I’m happy to do fact checking or talk or anything. I’m around. Just let me know when is good on your end. Brad Gooch’s book was eventually published by SeaHorse Press at the same time they put out my novella ‘Safe’. Otherwise, yeah, most if not all of the work in the Dlugos, Britton, Lally, and Brainard books are in their respective selected/collected poems. I think Ron Koertge is one of the greatest American poets, and he is criminally overlooked, and most of his books are out of print, so I would definitely say reprinting his Little Caesar books, maybe in one volume, would be a great idea. The Rimbaud text is very cut and dried, an article he wrote for a geographical magazine very late. A very few tiny Rimbaudian turns of phrase, but it’s pretty rote really. I don’t know why Peter Schjeldahl hasn’t had a Collected Poems published, It’s very strange. He was/is an amazing poet. ‘The Brute’ was his last book before he basically swore off writing poetry. Even in its strange current state, Paris still pretty dreamy. ** _Black_Acrylic, Thanks, Ben! Sweet about the Deller print! ** Bill, Hi. Well, Ron was totally posing to the nines in that photo. I’d be pretty shocked if you find any Little Caesar books in bookstores. Those books have been out of print for 40 years. Copies of some of them do pop up on eBay and Amazon and Abebooks and places like that sometimes. My mother, who was bankrolling Little Caesar, which was a deliberately money losing project as you can tell by the tiny prices I sold the books for, pulled the plug one day, so the books I had planned and partly typeset and the 13th issue of Little Caesar Magazine, got killed. Still breaks my heart. Little Caesar 13 was the best ever issue of the magazine. Sucks. ‘V/H/S: Viral’ … mm, you’ve kind of won me over to taking a look with that description. Great weekend! ** Julia Gloria, Hi, Julia! Very nice to meet you. Thank you so much for coming in here. Well, when I started Little Caesar it was a combination of writing to poets and artists I really liked to beg them for work and publishing young poet/writer peers of mine whose work I wanted to get out into the world. The magazine/press became kind of known and considered a cool thing at one point, and then I started getting submissions from all kinds of incredible, famous writers and artists and even rock musicians. My original plan was to make a magazine/press that tapped into the energy and rebelliousness of the punk music scene, which started up at the same time in the late 70s, and to make poetry seem cool and exciting by bringing in other things like art and music and films and stuff. I later edited a publishing imprint for a while in the late 90s/early 00’s called Little House on the Bowery, and I published a couple of dozen books of mostly fiction. I stopped it when I moved to Paris because I couldn’t give it enough focus from over here. Mm, I don’t think I knew of any of those cannibals when I wrote ‘The Marbled Swarm’, no, if I’m remembering right. I wish I had. Maybe for my next cannibal novel if I ever write one. Thank you again so much! Please feel more than free to come back anytime. Take care. ** Derek McCormack, Thank you, thank you, dear and great Derek! ** Dave Barton, Hi, Dave. Welcome! Good to meet you. Yeah, the idea of doing a Collected Little Caesar Magazine book in facsimile has been discussed for a while now. And, yeah, the potentially giant problem is getting the permissions since so many people who contributed are either super famous now or dead or have disappeared into obscurity. My agent was going to look into what rights actually need to be acquired, but I don’t know what happened there. There is/was some thought that if such a book was a ltd. ed., getting the rights might not be necessary. But it would a herculean job to track down all the permissions, and there’s no money to pay anyone to do it. Worst comes to worst, yeah, I’ll try to find a way to do a facsimile pdf and just upload it and have it be free for anyone to download. Thanks! I’m well, and I hope you are too. ** Steve Erickson, Hi. That’s true. Also, since porn was shot on film and generally at feature length, it attracted daring filmmakers who saw it as a form to work in. A number of the more interesting gay porn makers in the 70s were graduates of film programs at universities like UCLA, USC, and so on. Big up on your AC. I hope our works when it comes time to turn it on. Yes, I explained the Little Caesar Collected book thing to Dave just up above. ** Misanthrope, Ha ha, ‘I Was Made for Dancing’ is such a horrible, horrible record. I had all of Leif’s records back in the day and played them for all the wrong reasons, and that song was nails on a chalkboard even back then. I had to google Juan Epstein since I never watched ‘Kotter’, but, yeah, I remember his face from the commercials for that show. Hair. ** Corey Heiferman, Hi. If that Collected Little Caesar book ever happens, I’ll probably write an intro explaining all that stuff. It was an insane amount of work. I don’t know what I was thinking. It’s so, so, so, so much easier now thanks to tech. I had to type everything into a typesetting machine, print out the pages, which then had to be put in chemical solution for an hour to set them, then they had be dried and then cut with scissors then pasted down on these graphed page layout things, and, if there were typos or mistakes, I had to go back and type the corrections into the typesetting machine, develop, dry, cut, and paste the corrections down in  the proper spots, etc, etc. It was nuts. I think editing is definitely a big help. Journalism really helped me in terms of learning how structure an article to work properly. There is standard format, but you can play with it within limits. I never liked or was helped by the deadlines though. That part blew. Nothing huge ahead for my weekend that won’t be unexpected so far. Cold sesame noodle … grrr. ** Right. Here’s another post where I went, ‘Have I really never done an Agnes Varda Day before?! Is that possible?’ And it was. So enjoy Agnes Varda Day until I see you next (Monday).

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