Category: {abstract cinema}

Abstract cinema

Weekend links 94

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Mateo (2011), carved wood sculpture by Bruno Walpoth.

“Dennis Potter’s [The Singing Detective] is 25 years old but still feels avant garde,” says Stephen Armstrong. No fucking kidding, I watched the DVDs again last weekend. Potter’s drama featured non-linear flashbacks, song-and-dance hallucination sequences, an intertextual sub-plot, and a central character who was vitriolic, misanthropic, misogynist and covered from head-to-toe in flaking skin. This wasn’t exiled to an arts channel ghetto but was primetime viewing, Sunday evenings on BBC 1. • Related: “Is Dennis Potter’s singalong noir miniseries the all-time pinnacle of television drama? Graham Fuller thinks it is.”

• American band Earth are using Kickstarter to fund their next project, Wonders from the House of Albion, an LP/CD/DVD/book combining their music with “field recordings from various megalithic and other sites of human/fairy encounters across the UK, also the use of ritual and folkloric magical practices”. Dylan Carlson & Adrienne Davies discuss their work here.

…sort of like Nabokov’s objection to Our Lady of the Flowers, which he saw as a masterpiece but thought, “Why isn’t this book about women?” Nabokov hated homosexuality and was very edgy around it, partly because his own brother was homosexual and his uncle. And he believed that it was hereditary, so he was always nervous about it.

Edmund White chooses five favourite gay novels. Related: a dance adaptation by Earthfall of Jamie O’Neill’s At Swim, Two Boys.

• “The Belbury Tales is the kind of record you feel should have come out on Vertigo around ’73, but never actually did.” Belbury Poly‘s Jim Jupp on ploughman’s lunches, prog rock and avoiding “Clarkson/Wakeman territory”.

• Morbid Curiosity: The Richard Harris Collection, an exhibition at the Chicago Cultural Center exploring “the iconography of death across cultures and traditions spanning nearly six thousand years”.

• Geoff Dyer’s Zona, an exegesis of Andrei Tarkovsky’s Stalker, is officially out at the end of this month. The book is reviewed here and here.

• “Through a blurry electronic prism“: MetaFilter traces a history of analogue video synthesis.

• Dylan Ricci‘s wonderful photography of the male body has moved to a new location.

• Infinite Forest by Studio a+i, a design for an AIDS memorial in New York City.

• Susan Cain discussing “the power of introverts” at Scientific American.

• Strange Flowers on that icon of Middle Eastern music, Umm Kulthum.

• Ewan Morrison on “The self-epublishing bubble”.

• Winter Sleep (2007) by Valgeir Sigurdsson feat. Dawn McCarthy | Black (2008) by Ben Frost with Valgeir Sigurdsson, Sam Amidon & Sigrídur Sunna Reynisdóttir | Unbreakable Silence (2011) by Ben Frost & Daníel Bjarnason

Ballet Mécanique

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A film to round off a week of connected posts. Ballet Mécanique (1924) is more Dada than Surrealist if you want to get strict about the taxonomy, but the latter movement grew out of the former, and this short experiment by Fernand Léger and Dudley Murphy is a pioneering piece of work however it’s labelled. The film was photographed by Man Ray who used a variety of techniques including animation and kaleidoscope shots to present a “ballet” of machine parts and kitchen utensils. Some of the kaleidoscope images are so close to the opening shots of Fritz Lang’s Metropolis (1927) you have to wonder whether a viewing of this gave Lang ideas.

Ballet Mécanique has been provided with many scores over the years, from player pianos and sirens to more traditional arrangements. The copy at the Internet Archive has a contemporary score but like all silent films this can always be replaced with music of your own choosing.

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Previously on { feuilleton }
• Dreams That Money Can Buy
• La femme 100 têtes by Eric Duvivier
• Metropolis!
• Entr’acte by René Clair

Dreams That Money Can Buy

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Max Ernst.

The posts this week have all followed a Surrealist theme so I feel compelled to draw attention to the DVD-quality copy of Hans Richter’s Dreams That Money Can Buy (1947) at the Internet Archive. As mentioned before, Richter’s film is one of the key works of Surrealist cinema, made at the time when the art movement had been overwhelmed by the war in Europe but was finding a brief resurgence of interest in the United States. Hitchcock had drafted Salvador Dalí to design the dream sequences in Spellbound two years earlier which may have helped Richter to raise the funds for a colour feature film. The budget was low but the production values are a lot higher than other experimental films of the time, and Richter was able to find in New York a roster of world-class collaborators including Max Ernst, Paul Bowles, Fernand Léger, Man Ray, Marcel Duchamp, John Cage and Alexander Calder.

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The seven artists provide (and in Ernst’s case, perform in) the dreams that lead character Joe is selling to cover his rent. Fernand Léger’s contribution is a song sequence, The Girl with the Prefabricated Heart, about love among the showroom dummies, while Marcel Duchamp’s spinning discs are given another outing accompanied by music from John Cage. Dreams That Money Can Buy is a fascinating film that’s essential viewing for anyone interested in the art of this period. It’s also a film to which Kenneth Anger owes a small debt: the sleeping woman in Ernst’s Desire sequence is seen at one point swallowing a golden ball that hovers above her mouth, a trick that Anger later borrowed for Inauguration of the Pleasure Dome.

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Also at the Internet Archive are three further Richter films: two short works, Rhythmus 21 (1921) and Filmstudie (1925), and also Ghosts Before Breakfast (1927), an inventive experimental piece using cut-up imagery, simple animation and trick photography.

Previously on { feuilleton }
• La femme 100 têtes by Eric Duvivier
• Entr’acte by René Clair

Weekend links 75

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Eternal Pain (1913) by Paul Dardé. (And also here)

Rain Taxi caused a stir this week with its savaging of Hamlet’s Father by science fiction writer Orson Scott Card. The book is another of Card’s blatherings about the hell of being homosexual dressed in garments stolen from the unfortunate William Shakespeare. Rain Taxi made the obvious point about many of Shakespeare’s sonnets being homoerotic. For my part I was more appalled by the quoted extract which reduced one of the greatest plays in the language to that lifeless, cardboard-character-speak which is endemic in bad genre writing. News of the travesty quickly spread to gay news blogs, The Outer Alliance and elsewhere, ensuring that what’s left of Card’s reputation continues to spiral down a Mel Gibson-shaped black hole.

• “Sounds only like itself, like no one before or after.” Julian Cope on Tago Mago by Can which will be reissued in a new edition in November. Nice to see the return of the original sleeve design, something I saw once in a record shop then didn’t see again for years. For a long time I thought I’d imagined it. Related: two German art exhibitions inspired by the group.

• The Responsive Eye (1965), a catalogue for the MoMA exhibition that launched Op Art. Also at Ubuweb: La femme 100 têtes, a film by Eric Duvivier based on the collage work by Max Ernst.

• More apocalyptic art: William Feaver on John Martin whose exhibition will be opening at Tate Britain later this month. There’s a trailer here.

• Borges and I, an essay by Nandini Ramachandran. Related: Buenos Aires: Las Calles de Borges, a short film by Ian Ruschel.

• “Who was JG Ballard? Don’t ask his first biographer,” says Robert McCrum.

• Biologically-inspired fabric and material design by Neri Oxman.

• Cross-pollinating subgenres: “Steampunk ambient” at Disquiet.

• In the Shadow of Saturn, a photo by the Cassini spacecraft.

• The art and fashion designs of Alia Penner.

• Fleet of hybrid airships to conquer Arctic.

• RIP Jordan Belson, filmmaker.

• Ten years of Ladytron whose new album is released on the 12th of September: Playgirl (2001), Seventeen (2002), Destroy Everything You Touch (2005), Sugar (2005), Ghosts (2008), Ace Of Hz (2011).