A journal by artist and designer John Coulthart.
Penguin reprinted several volumes of Mishima in their Vintage line in 2010 with covers designed by Anna Crone. Seven of the covers are shown here although there are one or two more, not all of them available as large images. (Not for the first time I wonder why major publishers don’t make their new covers available at a decent size.) I’d have been wary of using Hokusai’s waves on a Mishima cover but colouring the water red makes it readable as a wave of blood.
This is another of those excellent television documentaries that I have imprisoned on a video tape somewhere so it was good to find on YouTube. The Strange Case of Yukio Mishima (1985) was directed by Michael MacIntyre for the BBC’s Arena arts strand. This was the year that Paul Schrader’s Mishima: A Life in Four Chapters was released so the documentary had some topical value even though Schrader’s film isn’t mentioned at all (something that wouldn’t happen today). MacIntyre begins as Schrader does, however, with the events of the final day of Mishima’s life on November 25th, 1970, before rewinding to present a biographical portrait of the writer/actor/director. There’s more footage than I remembered of Mishima discussing his work (in English) while John Hurt reads from Mishima’s writings. Commentary is supplied by biographer Henry Scott Stokes, translator Donald Keene, photographer Eikoh Hosoe (creator of the famous Mishima beefcake poses), director Nagisa Oshima, and Mishima’s lover Akihiro Maruyama, an actor who the credits also describe as a “female impersonator”.
Previously on { feuilleton }
• Tamotsu Yato’s men with katanas
• Forbidden Colours
• Mishima’s Rite of Love and Death
Another portfolio of pochoir prints by French artist EA Séguy, Samarkande dates from around 1914 (online sources aren’t certain). The portfolio contained 20 prints of which 10 are shown here; a few more may be seen on this page. Pochoir was a stencil process popular with French artists of this period. It’s often alluded to without explanation so it’s good to find this post by Ashley Jones which not only describes the process but also shows more of Séguy’s work.
McCabe & Mrs Miller (1971).
Watch enough films from the 1970s and you’ll eventually run across something photographed by Vilmos Zsigmond. And if you were watching on TV, video or even DVD there’s a good chance that his subtle grading of light and shade would have been spoiled or, in low-light scenes, reduced to murk. (TV used to be the worst for also cropping widescreen films.) Screengrabs on a web page don’t do his work any justice either but that can’t be helped. Happily, many of these films are now available in high-definition.
Images (1972).
Deliverance (1972).
The Long Goodbye (1973).
The Deer Hunter (1978).
Heaven’s Gate (1980).
Heaven’s Gate (1980).
Heaven’s Gate (1980).
The Royal Mint celebrates 400 years of William Shakespeare with new £2 coins. The “Tragedies” design gives Britain the Gothiest coin of all time.
• “I hate successful films that travel on an easy wave of ‘good taste’: for me, that is simply anti-culture.” Cinematographer Luciano Tovoli talks to Alexandra Heller-Nicholas about photographing Dario Argento’s masterwork, Suspiria.
• Mixes of the week: Für die Liebe II, an hour of ambient drift by Matthew Dekay, and Carwyn Ellis Mixtape No. 354 by The Voice Of Cassandre.
• Americans in Europe: Frances Mayes on the enduring mystique of the Venetian lagoon, and David Farley on the trail of Kafka in Prague.
“We’d read that Brion Gysin and William Burroughs had played around with some scientific equipment from Columbia University,” [Jim] Jarmusch recalls. It was “some kind of strobe light that they claimed, by placing eidetic pulses on the outside of your eyelids, could cause states of hallucination and trance. We found out how to check out this machine and experimented with … not fantastic results! In a way though, Luc [Sante] channels ghosts: he’s able to imagine and mentally reconstruct events and places from the past and weave them into stories. He can cross influences like Blaise Cendrars and JG Ballard with James M Cain and Raymond Roussel.”
[…]
If New York celebrates amnesia, perpetual transformation, accelerated obsolescence – and offers newcomers a blank slate, a chance to be born again – then Sante offers a mordantly heretical vision of the city. For him it’s full of layers and depths, of echoes and eerie reverberations, of occult whispers. “The tech crowd thinks that we can’t afford the past to be sitting on our shoulders. It’s a burden, a dead weight. We’ve got to innovate constantly. We have to … disrupt. But the 20th century is littered with valuable stuff – writers, ideas, daily certainties – that gets discarded and that needs to be picked up and looked at again.”
Sukhdev Sandhu profiles writer Luc Sante
• The Edge Question for 2016: What do you consider the most interesting recent (scientific) news? What makes it important?
• Bradley L. Garrett’s foreword for Secret Tunnels of England: Folklore and Fact (2015), a book by Antony Clayton.
• Caitlin R. Green on the monstrous landscape of medieval Lincolnshire.
• Mistaken Memories of Mediaeval Manhattan by Brian Eno.
• Arche (live, 2013) by Master Musicians of Bukkake.
• A Year In The Country returns for another year.
• Kafka (1982) by Masami Tsuchiya | Manhattan (1984) by Seigen Ono | Tunnel (1997) by Biosphere