Czech film posters

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I wouldn’t be surprised if these have been linked all over but I hadn’t come across this site before, Czech posters from the Cold War period when promotional material for Hollywood films was home-produced. This makes for some surprising results as with the psychedelic confection for Dumbo shown above. Elsewhere there’s a Piranesian collage for Raiders of the Lost Ark, a peculiar mangling of Richard Amsel’s poster for Hello Dolly, something for Death in Venice which seems to have nothing whatever to do with the film, and plenty of good solid design such as this piece for Pasolini’s Oedipus Rex.

In a similar vein there’s the extensive Polish Posters site which features some really great work from artists like Franciszek Starowieyski.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
The poster art of Richard Amsel
Bollywood posters
Lussuria, Invidia, Superbia
The poster art of Bob Peak
A premonition of Premonition
Perfume: the art of scent
Metropolis posters
Film noir posters
Czech book covers

Mary Ellen Bute: Films 1934–1957

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Mary Ellen Bute.

Last week I noted the appearance at Ubuweb of Mary Ellen Bute’s little-seen Passages from James Joyce’s Finnegans Wake. News comes this week of an exhibition of her abstract films at sketch, London.

sketch presents the first gallery survey exhibition of abstract film by Mary Ellen Bute (b. Houston, Texas 1906, d. 1983).

From 1934–1957 Mary Ellen Bute made fourteen short films pioneering techniques with light, sound and the moving image. Her work involved collaborating with artists, musicians, inventors and others who adopted a scientific experimental approach to creating sound and optical effects. In addition to sampling hand processes such as drawing and painting directly on film the work features imagery created automatically by a custom-built, cathode-ray oscilloscope. She can one of the first woman artists to experiment with the medium but unlike contemporaries Hans Richter (b. 1888), Len Lye (b. 1901) and Oskar Fischinger (b. 1900) her work remains largely unknown. This exhibition brings together a complete chronology of her abstract films, most of which have never been shown in Britain and for the first time will present her work as a multi-screen installation using sketch’s twelve projectors. This exhibition has been curated by Michelle Cotton who has included Bute’s work in survey of artist film distributed by the Independent Cinema Office. Essentials: Modernity will be released nationwide later this year.

A publication featuring essays and previously unpublished material will be published by ALMANAC to be launched in September 2008. ALMANAC is curatorial studio and independent imprint run by Andres Bonacina, Victoria Brooks, James Lambert & Anne Low.

The exhibition runs from 26 July to 13 September, 2008.

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Synchromy No. 4: Escape.

For those of us not in London, there’s always YouTube which has a small selection of Ms Bute’s work and in decent quality for once. The two later colour films are especially worth watching; Tarantella was a collaboration with Norman McLaren while Synchromy No. 4 used Bach’s Toccata and Fugue in D Minor two years before Disney’s similar sequence in Fantasia.

Mary Ellen Bute on YouTube:
Rhythm in Light (1934)
Dada (1936)
Synchromy No. 4: Escape (1938)
Tarantella (1940)

Elsewhere on { feuilleton }
The abstract cinema archive

Passages from James Joyce’s Finnegans Wake

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Ubuweb continues to come up with the very obscure goods. Mary Ellen Bute’s Passages from James Joyce’s Finnegans Wake is the kind of thing you would have been lucky to see on television even in the days when non-Hollywood fare was screened regularly. Joyce is almost the definitive example of the unfilmable author although that didn’t prevent Joseph Strick from having a go at Ulysses in 1967 and A Portrait of the Artist as a Young Man ten years later. Ulysses if it was filmed at all should probably be done as eighteen hour-long films rather than Strick’s truncated skate through the novel. Some passages work better than others but I’ve never been able to accept Milo O’Shea as Leopold Bloom. Bosco Hogan on the other hand is permanently fixed in my head as Stephen Dedalus having seen Portrait before reading the book.

As to the success of Mary Ellen Bute’s opus, I still haven’t watched it properly so you’ll have to go and look for yourself. It’s little more than an illustrated reading but that’s not necessarily as misguided as it seems. Finnegans Wake for many people is one of English literature’s impregnable fortresses; anything that helps break down the doors is surely worthwhile.

Passages from James Joyce’s Finnegans Wake
Directed by Mary Ellen Bute
Screenplay by Mary Manning
Cinematography by Ted Nemeth
Music by Elliot Kaplan

Cast (in alphabetical order)
Ray Flanagan . . .Young Shem
Peter Haskell . . . Shem
Page Johnson . . . Shaun
Martin J. Kelley . . . Finnegan
Jane Reilly . . . Anna Livia

There are currently no copies of this film availabe on VHS or DVD; but a 16 mm print is available for museums, universities, and Joycean institutions. Contact Mrs. Cecile Starr at (802) 863-6904; rental is $180.

A half-forgotten, half-legendary pioneer in American abstract and animated filmmaking, Mary Ellen Bute, late in her career as an artist, created this adaptation of James Joyce, her only feature. In the transformation from Joyce’s polyglot prose to the necessarily concrete imagery of actors and sets, Passages discovers a truly oneiric film style, a weirdly post-New Wave rediscovery of Surrealism, and in her panoply of allusion – 1950s dance crazes, atomic weaponry, ICBMs, and television all make appearances – she finds a cinematic approximation of the novel’s nearly impenetrable vertically compressed structure.

With Passages from Finnegans Wake Bute was the first to adapt a work of James Joyce to film and was honored for this project at the Cannes Film Festival in 1965 as best debut.

Previously on { feuilleton }
Wyndham Lewis: Portraits
Picasso-esque
Books for Bloomsday
Finnegan begin again

Berni Wrightson in The Mist

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It’s not giving too much away to let enthusiasts of tentacular horror know that Frank Darabont’s film of The Mist, currently fogging up UK cinema screens, contains these questing things among its torments. The Mist is based on a 1980 novella by Stephen King and the film has a decent King pedigree for once, with the director having previously made The Shawshank Redemption and The Green Mile while the creature designs are partly the work of Berni Wrightson, one of King’s artist collaborators. Wrightson’s web gallery has a number of his sketches on display although if you haven’t seen the film you should be warned that they spoil some of the surprises.

My good friend Mark Pilkington—weirdness wrangler, editor of Strange Attractor and all-round ubiquitous presence—reviews the film in this month’s Sight and Sound where he points out some of the Lovecraftian resonances. Tentacles aside, there’s a lumbering monstrosity near the end which manages to be far more Lovecraftian than the Cloverfield creature and I wouldn’t have minded seeing more of the larger presences than the lesser beasties. The film’s lead character is a movie poster artist and the opening scene nods to an earlier film with an equally Lovecraftian atmosphere by having Drew Struzan’s art for John Carpenter’s The Thing on the wall in the background. The film’s siege situation is more the kind of story you’d get from an earlier writer, William Hope Hodgson, another purveyor of the malevolent tentacle.

Berni Wrightson and your not-so-humble narrator appeared together recently in Centipede Press’s A Lovecraft Retrospective: Artists Inspired by H.P. Lovecraft (yes, I am going to keep going on about this book for the next few months…sue me). Wrightson is represented there by his comic strip adaptation of Cool Air but his Mist drawings would have made equally worthwhile additions. If nothing else, 2008 is turning out to be a good year for horror enthusiasts.

Previously on { feuilleton }
The monstrous tome
Octopulps
Druillet meets Hodgson