The Hangman by Paul Julian and Les Goldman

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After mentioning Paul Julian in the previous post I went looking for examples of his work. The production design and background paintings that Julian created for the animated adaptation of The Tell-Tale Heart (1953) are perennially celebrated, especially around Halloween, but director Ted Parmelee tends to receive all the credit. The Tell-Tale Heart was a production for UPA but Julian had a long career in animation, especially for Warner Bros., and his voice (if not his name) are universally familiar from the sounds the Road Runner makes in the Wile. E Coyote cartoons. Until this week if I’d thought about this at all I would have assumed that the “hmeep-hmeep” sound (as Julian described it) was created by Mel Blanc, not one of the cartoon’s background artists.

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The Hangman (1964) is an 11-minute animation that, like The Tell-Tale Heart, is a long way from Looney Tunes and Merrie Melodies. Herschel Bernardi reads a poem by Maurice Ogden that describes a hangman who arrives in a small town and begins executing the citizens one after the other. No-one is spared, even those who support the actions of the hangman when his first victims are Jewish, Black, an unspecified “alien” and a man who openly questions the executions. The poem was written during the McCarthy era but is the kind of moral fable whose sentiments can be applied to any time, even if the design makes the context a specifically American one. Paul Julian painted the backgrounds and co-directed with Les Goldman, while Julian’s wife, Margaret, provided the minimal animation. The jazzy score—which doesn’t really suit the theme—was the work of Serge Hovey. Julian’s townscapes start out as Edward Hopper-like scenes of tall houses, old storefronts and wide roads striped with sunset shadows. In the second half of the film a Surrealist quality takes over. The gallows pole slowly consumes the town as well as its people, dismantling the buildings in order to grow into a towering edifice. The characterisations and the scene transitions make it plain how much of The Tell-Tale Heart was Julian’s work, while the film as a whole reminds me of one of Ray Bradbury’s morality tales. Watch it here.

Previously on { feuilleton }
The Tell-Tale Heart from UPA

Philippe Caza record covers

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Bad Taste (2014) by The Datsuns.

Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Druillet and Moebius have already featured in this series so here’s another French comic artist whose work was popularised in the Anglophone world by Heavy Metal magazine. In addition to comics, Caza has been a prolific cover artist for French fantasy, horror and SF novels, some examples of which are reused here. As with Druillet, many of his record sleeves are reprintings of comics panels, but he’s also created a few pieces specially for vinyl and CD.

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Aber Du (1985) by Haindling.

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Mémoire Des Ecumes (1985) by Torgue.

A soundtrack album (?) for the comic book of the same name by Caza and writer Christian Lejalé.

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Musique Originale Du Film Les Enfants De La Pluie (2003) by Didier Lockwood.

The soundtrack album for an animated feature film co-written and designed by Caza. This follows earlier Caza-derived animations by René Laloux including the feature-length Gandahar (1988).

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Sweat All Night (2013) by Nico’ZZ Band.

Continue reading “Philippe Caza record covers”

Weekend links 588

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Gerry Barney’s logo for British Rail. A page from the British Rail Corporate Identity Manual (1965).

• RIP Russ Kick, writer, editor, and founder of many websites/blogs such as Rare Erotica, Books Are People Too and (notoriously) the several iterations of The Memory Hole, a space dedicated to keeping visible information that successive US governments would have preferred to remain unseen. I’d known Russ remotely for many years, initially as a reviewer of the Savoy comics in Outposts. Savoy Books later helped find him a publisher for Psychotropedia: A Guide to Publications on the Periphery, a wide-ranging overview of alternative/underground print culture in the late 1990s. In 2004 his information activism gave him a fleeting taste of world-wide attention when he forced the Bush administration to make public the photos of flag-draped coffins returning from Iraq. The scandal put his name on the front pages of newspapers that should have been finding those photos for themselves instead of cheerleading the war. A run of books for Disinformation presented his archival researches for the general reader, then in 2012 he edited The Graphic Canon, a massive three-volume collection of comics and illustrations based on classic works of literature. I was among the many contributors to the latter with an adaptation of The Picture of Dorian Gray, and would have worked on the follow-up collection of crime stories if I hadn’t been busy with other things. I had hoped that we might work together again in the future.

• “‘The new mainstream has attempted to erase the innovations of the avant-garde from jazz history,’ the film declares.” Geeta Dayal reviews Fire Music, a documentary about the jazz innovations of the 1960s.

• I don’t have the hardware to play this but Sable is a new computer game from Raw Fury whose design owes much to the desert landscapes seen in comics by Moebius.

• New/old music: Stealing Sheep and The Radiophonic Workshop reimagine the score for René Laloux’s animated science-fiction film La Planète Sauvage.

• At Spine: Savannah Cordova on how to perfect your book cover’s typography. Having recently designed an all-type cover design this is timely.

• Mixes of the week: Isolatedmix 113 by Sunju Hargun, XLR8R Podcast 714 by Soela, and Holograficzne Widmo ze Bart De Paepe by David Colohan.

• “If it ain’t broke, don’t fix it.” Gerry Barney, designer of the British Rail logo, doesn’t like the green reworking of his design.

• Scottish lord goes blood simple: a teaser for The Tragedy of Macbeth by Joel Cohen and some bloke called William Shakespeare.

• “It’s unmanageable.” Ellen Peirson-Hagger on how the vinyl industry reached breaking point.

Macbeth (1973) by John Cale | Rail (1994) by Main | Logotone (2013) by Steve Moore

Weekend links 583

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Faun (1897) by Karel Hlavacek.

A teaser trailer for Mad God, a stop-motion animated feature by Phil Tippett. 30 years in the making and not the usual saccharine fare. The director talks about his film here.

• For those who missed Johnny Trunk’s book about Sainsbury’s Design Studio several years ago (or would like more of the same), packaging design at the Sainsbury Archive.

• Mixes of the week: Ces Gens-Là – Avec Bart De Paepe by David Colohan, and Phased Induction Phototaxis by The Ephemeral Man.

• Smoking dope and comparing bad reviews: Stephen Sondheim and James Lapine discuss the early days of their collaboration.

• At the cat-loving Spoon & Tamago: This cat table gives your feline a seat in the table.

John Lurie‘s tales of Bohemian living with The Lounge Lizards in 1979 New York.

• Luxury assortment: the British artists behind Cadbury’s chocolate boxes.

Kevin Richard Martin’s favourite albums.

• At Dennis Cooper’s: Skeletons 2.

Hymn To Pan (2008) by Blood Ceremony | The Great God Pan (2011) by Blood Ceremony | Faunus (2013) by Blood Ceremony

Weekend links 580

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The Collective Lie We All Live By, a cut-paper collage by Allan Kausch from Maintenant 15, A Journal of Contemporary Dada Writing and Art.

• “It’s unusual that an album manages to be at once so much of its moment, yet so much outside it. Time was unmistakably a response to the electronic and synth waves that rose in the wake of punk. It was also a concept album about time travel, which couldn’t have been more pre-punk had it been focus-grouped that way.” David Bennun on Time (1981), ELO’s masterwork of science-fiction pop. The first song on the album, Twilight, is a thundering piece of synth bombast that prefigures Trevor Horn’s equally bombastic productions, and was used to memorable effect in the copyright-infringing animation made in 1983 for the opening of Daicon IV.

• New music: Disciples Of The Scorpion by The Rowan Amber Mill, and Shade by Grouper.

• “Psychedelic spirituality: Inside a growing Bay Area religious movement“.

• “It’s time to farewell this project,” says Ballardian.

• At Wormwoodiana: the seven greek vowels.

• A playlist for The Wire by Douglas Benford.

Norman Blake‘s favourite albums.

Astronomia Playing Cards.

• RIP Dusty Hill.

Time (1973) by David Bowie | Time (1976) by La Düsseldorf | Time (1992) by Lull