{fantasy} – Page 5 – { feuilleton }

Fender guitar catalogue, 1976

Another post prompted by 70s Sci-Fi Art, and a publication that’s very typical of its decade. The Fender guitar catalogue for 1976 showcases its product range with a series of illustrations that carefully pastiche the kind of art you’d find in books of fairy tales. Selling rock’n’roll equipment in this manner wasn’t a trend-setting step by 1976, not with the punk hordes on the march, but corporations are seldom ahead of the general culture. The cover art by Ruby K. Lee is a copy of one of Kay Nielsen’s drawings for East of the Sun and West of the Moon. Lee also provides one of the interior drawings, with the rest of the art being the work of Bruce Wolfe. (There may be another artist involved since one of the illustrations lacks a credit.) This looks like a huge amount of effort for a small product catalogue but the illustrations were also part of an ad campaign with accompanying storybook copy. It’s good to see Busorama being used for all the headings. I’ve been using this font myself for its associations with the 1970s.

Since I keep borrowing tips from 70s Sci-Fi Art I’ll note again that Adam Rowe’s Worlds Beyond Time: Sci-Fi Art of the 1970s will be published by Abrams next month.

Continue reading “Fender guitar catalogue, 1976”

Toytown psychedelia

The Teletrips of Alala (1970).

The imaginative landscapes of childhood were always close at hand in the psychedelic culture of the 1960s, more so in Britain than the USA, and especially where music was concerned. Grace Slick may have given the world White Rabbit but there’s a whole sub-genre of British psychedelic song-writing devoted to children’s games, children’s dreams, sweetshops, fairy tales and the like. Rob Chapman in his essential study of the form, Psychedelia and Other Colours, refers to this tendency as “infantasia”. With psychedelic art being so vivid and playful it’s a small step from lysergic wonderlands to children’s books styled in a quasi-psychedelic manner, which is what we have here. There was a lot of this around in the early 1970s, not all of it very memorable. Some of the best examples were published by Harlin Quist, a US/French imprint who specialised in beautiful books illustrated by exceptional talents. A few of these may be seen at The Peculiar Manicule.

Gertrude and the Mermaid (1968)
by Richard Hughes, illustrated by Nicole Claveloux.

“This is the story a little girl, her doll named Gertrude, and a mysterious mermaid-child.” The first of several books by Nicole Claveloux for Harlin Quist.

Help, Help, the Globolinks! (1970)
by Gian Carlo Menotti, translated and adapted by Leigh Dean, illustrated by Milton Glaser.

“Recounts the events following the landing of the outer-space Globolinks on Earth.” A German comic opera from 1968 in which a group of children encounter an alien invasion.

The Teletrips of Alala (1970)
by Guy Monreal, illustrated by Nicole Claveloux.

“With her unique power to enter the television set and change the course of the programs, Alala creates havoc in the world.” Nicole Claveloux puts her own twist on the Yellow Submarine art style. A few years after this she was creating comic strips for Métal Hurlant. Her more recent work includes erotic retellings of fairy tales. (more pages)

Andromedar SR1 (1971)
by Martin Ripkens & Hans Stempel, illustrated by Heinz Edelmann.

“Two astronauts under the spell of an evil octopus are ordered to steal the cobalt-blue flowers from the Martian Mice.” Ripkens and Stempel were better known for their work as cinema critics and film-makers. (more pages)

Cartulino: El asombroso doctor Zas (1971)
by Miguel Agustí, illustrated by Alberto Solsona.

A comic strip from a Spanish title, Strong. Alberto Solsona also drew Agar-Agar, the grooviest strip in the short-lived Dracula comic. Cartulino had a number of different adventures but online examples are scarce.

Los Doce Trabajos de Hércules (1973)
by Miguel Calatayud.

“Serie de episodios sobre la penitencia llevada a cabo por Hércules el mayor de los héroes griegos.” A comic adaptation rather than a story book but the art style is a good example of the general trend.

Update: Added Alberto Solsona.

Previously on { feuilleton }
• Glaser goes POP
• Return to Pepperland
• The groovy look
• The psychedelic art of Nicole Claveloux
• Psychedelia and Other Colours by Rob Chapman
• David Chestnutt’s psychedelic fairy tales

Weekend links 675

Lucifer (1890) by Franz Stuck.

• “I wanted to reclaim the word ‘psychonauts’ and take it back into the 19th century, where it describes not only renegades and rebels, but also establishment scientists, doctors, and pillars of the literary establishment. The word that was used at the time was “self-experimenter.” Mike Jay (again) talking to Steve Paulson about psychoactive research and the scientists who taste their own medicine.

• “How did countercultures commune before the internet?” asks J. Hoberman, reviewing Heads Together: Weed and the Underground Press Syndicate, 1965–1973 by David Jacob Kramer.

• At Public Domain Review: Medieval advice concerning the mythical Bonnacon: “the protection which its forehead denies this monster is furnished by its bowels”.

• DJ Food unearths posters and badges for The Kaleidoscope, a short-lived Los Angeles music venue of the late 60s.

• At Spoon & Tamago: Gaku Yamazaki has documented thousands of unusual road signs across Japan.

• New music: Psalm013: Unland by Pram of Dogs, and Intimaa by Bana Haffar.

• At Unquiet Things: A sneak peek from the forthcoming The Art of Fantasy.

• The Strange World of…Shirley Collins.

• At Dennis Cooper’s: Bruce Posner Day.

• Kenneth Anger: a life in pictures.

• RIP Tina Turner.

• Kaleidoscope (1967) by Kaleidoscope (UK) | Kaleidoscope (1984) by Rain Parade | Collideascope (1987) by The Dukes Of Stratosphear

Weekend links 672

Le Vice Errant (1902) by Vincent Lorant-Heilbronn.

• “So however surreal those cities, the invisible ones that he builds, they have their counterpart in the real. They always have their counterpart in visible cities.” Darran Anderson on Italo Calvino’s Invisible Cities.

• At Wormwoodiana: Mark Valentine on the centenary of The Riddle and Other Stories by Walter de la Mare, with special attention paid to The Vats, a very strange story.

• New music: A Bad Attitude by African Head Charge; Lapsed Gasps by Push For Night + Jon Mueller; Forevervoiceless by Brian Eno.

The strands of medicine, consciousness expansion, intoxication, addiction, and crime were tightly entangled in fin-de-siècle Paris, where ether and chloroform circulated among bohemian demi-mondaines alongside morphine, opium, cocaine, hashish, and wormwood-infused absinthe. These solvents were often carried in small glass vials and medicine bottles by the asthmatic, tubercular, and neurasthenic, added to patent tonics and syrups, and, on occasion, to cocktails: an ether-soaked strawberry floating in champagne produced a heady rush, the fruit preventing the volatile liquid from evaporating too quickly. Literary references to ether abounded, either as a signifier of decadence or as a literary prop to shift a realistic narrative into the landscape of dreams and symbols, where its dissociative qualities became a portal to strange mental states, psychological hauntings, uncanny doublings, and slippages of space and time.

Mike Jay on Jean Lorrain and the ether dreams of fin-de-siècle Paris

• At Aquarium Drunkard: Jim Jarmusch and Carter Logan talk about the recording of Silver Haze, their first album as Sqürl.

• James Balmont offers a beginner’s guide to the films of Dario Argento.

• At Unquiet Things: Rachael Bridge’s Luminous, Technicolor Shadows.

• Mix of the week: A mix for The Wire by Erika.

• Ether Ships (1978) by Steve Hillage | Ether (1998) by Redshift | Ether (2000) by Coil

The Secret Adventures of Tom Thumb

The dark fairy tale turns up often enough in animated film to be a genre of its own, a kind of mutant sibling to the more traditional fare which has been a staple of the medium as far back as Lotte Reiniger. The darkness is especially pronounced in The Secret Adventures of Tom Thumb, an hour-long film in which the tale of the tiny boy is combined with that of Jack the Giant-killer. In this version Tom is the product of an accident in an insemination plant, to which he’s returned after being kidnapped by sinister adults, and from which he escapes to join a community of miniature scavengers.

Dave Borthwick’s film owes nothing to the Tim Burton school of Goth fantasy. This is a queasily British take on the Tom Thumb story: kitchen-sink grotesquerie strained through Terry Gilliam’s Brazil and Jan Svankmajer’s savagery; biological experiments, toxic waste, sweating faces, spiders and insects everywhere. There must be more animated houseflies in this film than in any other before or since. The human characters are pixilated throughout, a technique which adds to their lumbering clumsiness while allowing them to blend with the animated figures and other details.

In the previous post I talked about Channel 4’s years of support for underground and experimental cinema. The channel was also a great supporter of animation in its first decade, helping fund films by Jan Svankmajer, the Quay Brothers and many others, as well as regularly screening the kind of child-unfriendly animation which is seldom shown on TV. Having not seen Dave Borthwick’s film since the 1990s I thought this might be another Channel 4 production but it was actually co-funded by the BBC, together with La Sept in France. The BBC’s involvement is surprising considering how weird and unpleasant the film is. The corporation had apparently commissioned a short for their Christmas schedule but turned down the results as unsuitable for the season. (The Christmas connection may explain the detail of a crucified Santa hanging on a wall.) They did, however, agree to help Borthwick and co. make this longer version of the story, a commendable decision that I doubt would pass today. Dave Borthwick died in October last year. His fellow animators regard The Secret Adventures of Tom Thumb as his best film. Watch it here.

Previously on { feuilleton }
• The Magic Art of Jan Svankmajer
• Jiri Barta’s Labyrinth of Darkness
• The Web by Joan Ashworth
• Jiri Barta’s Pied Piper