{film} – Page 199 – { feuilleton }

The Nest, a film by David Cronenberg

This isn’t exactly news when it’s been posted on numerous sites over the past few days, but for the benefit of those who haven’t yet seen it, The Nest is a short film by David Cronenberg made for the exhibition of the director’s work that’s currently running at the EYE Film Institute in Amsterdam. Nine minutes, a single shot and no overt horror but it’s still an insidious piece. It’s only on YouTube for as long as the exhibition is in progress so watch it while you can.

Previously on { feuilleton }
• Long Live the New Flesh: The Films of David Cronenberg

Weekend links 215

Julian House artwork for Other Voices, a new singles series on the Ghost Box label. Other Voices 01 is a collaboration between Sean O’Hagan of the High Llamas and Jon Brooks of The Advisory Circle.

Last week I linked to a copy Zadie Smith’s new introduction for Crash by JG Ballard. That piece could only be read in full by NYRB subscribers but this week the Guardian has the full text:

I was in college when the Daily Mail went to war with [David Cronenberg’s] movie, and found myself unpleasantly aligned with the censors, my own faux-feminism existing in a Venn diagram with their righteous indignation. We were both wrong: Crash is not about humiliating the disabled or debasing women, and in fact the Mail‘s campaign is a chilling lesson in how a superficial manipulation of liberal identity politics can be used to silence a genuinely protesting voice, one that is trying to speak for us all.

Related: Thomas Jones in 2008 reviewing Miracles of Life:

Despite all the bodily fluids spurted and smeared onto wrecked dashboards, the problem isn’t that it’s too pornographic but that it isn’t pornographic enough: the novel is too conscious of the deeper meaning of the sex and violence for the sex and violence to work as elements in themselves.

The fetishisation of Ballard’s novel (and Ballard’s fetishes) show no signs of abating: B-Movie (Ballardian Video Neuronica), is a short film by John Foxx, Karborn and Jonathan Barnbrook.

• Last Thursday I was watching a live performance by Pye Corner Audio and Not Waving, so it’s good to find this mix by the pair surfacing in the same week. Kudos to the latter for choosing something by Chrome. More mixes: FACT mix 468 by Throwing Snow, and Secret Thirteen mix 120 by Drøp.

• Ellen Datlow’s horror anthology, Lovecraft’s Monsters, continues to gather plaudits. Among recent reviews there’s Matt Barone at Complex who included the book in his Year’s Best Genre Fiction Books (So Far) list, and also praised my illustrations.

In recent years, many of the people on book covers have been women without faces. So prevalent is this visual cliché that the publishing industry has cycled through at least two well-documented iterations. The first, the Headless Woman, features some poor thing cut off above the neck, like the swimsuit-clad beachgoer on Alice Munro’s story collection “The View from Castle Rock.” The website Goodreads’s Headless Women page has 416 entries. Last year, the Headless Woman was supplanted by the Sexy Back, in which a woman is shown from behind, often gazing out over a vista.

Eugenia Williamson on the packaging of books for a female readership.

• The latest Taschen volume from Dian Hanson, editor of (among other titles) The Big Penis Book, is My Buddy. World War II Laid Bare, featuring photos from the archives of Michael Stokes. World of Wonder has pages from the interior.

• I Have Walked This Body by Jenny Hval and Susanna is a track from a forthcoming album inspired by Maya Deren and Alexander Hammid’s Meshes of the Afternoon. It sounds fantastic so I’m looking forward to hearing more.

• If you have a spare half-million dollars, and don’t mind the possibility of possession by murderous supernatural entities, the Palmer house from Twin Peaks is for sale.

• Read an extract from Season of the Witch: How the Occult Saved Rock and Roll by Peter Bebergal.

• The Stars and Their Courses: over six hours of the Nevada night sky in 4k definition.

• Lee Siegel on the fraught friendship of TS Eliot and Groucho Marx.

• Harmony Korine talked to Kenneth Anger for Interview Magazine.

• New Scientist: How magic mushrooms induce a dream-like state.

• 3D-print your own Marcel Duchamp chess set.

• Scott O)))

• Crash (1980) by Tuxedomoon | Burning Car (1980) by John Foxx | A Crash At Every Speed (1994) by Disco Inferno | Burning Car (Dubterror Remix, 2008) by John Foxx

Maska: Stanisław Lem and the Brothers Quay

Did I mention the Brothers Quay? This is a mesmerising piece, and another short film to add to the growing number of Quay works yet to be collected on DVD. Maska (2010) is a 23-minute digital animation based on Stanisław Lem’s short story, The Mask (1976), which the producers have recently made available on YouTube. It was perhaps inevitable that if the Quays were going to venture into science fiction they’d use an Eastern European source. Lem’s story concerns a sophisticated technological society which is nonetheless still a monarchy. The narrator is an artificial woman who the aristocracy have created for a special mission; her human exterior conceals a robot interior, but this is no Maria from Metropolis. Midway through the story the robot breaks free of its human shell and is revealed to be a mantis-like creature.

The Quays’ corpus has tended to avoid genres of any kind so it’s fascinating seeing how they wrangle both sf and horror into a mise-en-scène which is remote from their decaying European scenarios but which, in its details, is completely familiar: puppet characters, flickering light, shifting focus, everything immersed in shadow. Maska also departs from form by having a spoken narration which offers some rudiments of explanation. The habitual atmosphere of unease is still present, however, and pushed to outright horror in places, assisted by extracts from Penderecki’s nerve-jangling De Natura Sonoris No. 1.

As with Piotr Kamler’s Chronopolis, this is a good reminder of how science fiction can be presented in a less obvious manner by animation, offering a view into a world that doesn’t have to be explained down to the last detail. Some of the best written SF, and some comic-strip SF (usually the Continental titles), delivers a strangeness that’s completely absent from most filmed science fiction. Vast budgets demand simple-minded narratives with mass appeal so it’s left to animation and low-budget films to venture into areas that would be off-limits elsewhere. Maska is an impressive film, one of the best Quay shorts I’ve seen for some time. Watch it here.

Elsewhere on { feuilleton }
• The Quay Brothers archive

Weekend links 214

San Francisco Sound (1967). Art by Wallace Studio, Seattle.

• RIP gay porn pioneer Peter de Rome. BUTT posted de Rome’s surprisingly daring Underground (1972), a film in which two men have an unfaked sexual encounter on a New York subway train. That film and others are available on the BFI’s DVD collection. Related: Brian Robinson remembers a director of films whose supporters included Andy Warhol, William Burroughs and John Gielgud.

• “My stuff is implicitly critical of television as it is now,” explains Jonathan [Meades], “Television used not to be as openly moronic as it has become…” A lengthy and typically pugnacious Meades interview with Remy Dean.

• Thurston Moore remembers the Burroughs-themed Nova Convention staged in New York in 1978. William Burroughs 100—Nova Convention is a retrospective exhibition running at Red Gallery, London, next month.

How are we expected to take seriously…any work which appears to have engaged less than the whole passionate attention of its author? To be fobbed off, at the last, with something which we feel to be less true than the author knew it to be, challenges the importance of the whole art of writing, and instead of enlarging the bounds of our experience, it leaves them where they are.

Katherine Mansfield was also a book reviewer.

• JG Ballard’s Crash is reissued in August by Fourth Estate with an introduction by Zadie Smith. There’s a tantalising extract from the intro at the NYRB or you can read the whole thing if you’re a subscriber.

• “Between 1959 & 1980 Shirley Collins changed the course of folk music in England & America. Thirty years after disappearing, she’s back.”

• Photos by Anne Billson of one of the more attractive Parisian arcades. Related (in a flâneur sense): Christina Scholz‘s Vancouver dérive.

• “Why did Borges hate soccer?” asks Shaj Matthew. Related: George Orwell on the same subject.

• Mixes of the week: FACT mix 447 by Forest Swords, and Programme 13 from Radio Belbury.

• At Dangerous Minds: Roland Topor’s cheerfully violent illustrations from Les Masochistes.

• Rainy Day Psychedelia: Ben Marks on Seattle’s neglected 1960s poster scene.

• Strange Flowers looks at Oskar Schlemmer‘s Triadic Ballet designs.

• A Journey to Avebury: Stewart Lee interviews Julian Cope.

• It’s All Over Now (1963) by The Valentinos featuring Bobby Womack | It’s All Over Now (1964) by The Rolling Stones | It’s All Over Now (1974) by Ry Cooder

Power Spot by Michael Scroggins

I was going to post this anyway but there’s a coincidental connection with yesterday’s post in the person of Richard Horowitz whose keyboards can be heard on the soundtrack. The music is Power Spot, the opening number on the album of the same name released by ECM in 1986. Also present on the album are Brian Eno (who co-produces with Daniel Lanois), Michael Brook and others. I’d tell you that Power Spot is a great album but then I like everything Hassell does so I’m rather biased. But it is a great album.

Michael Scroggins’ video was commissioned to accompany the release of the album, and if it looks of its time today it’s still an impressive piece, not least because Scroggins says it was created through live improvisation. That puts it in a different class to earlier abstract accompaniments for music which are either animated frame-by-frame or created independently with the music added later. (Thanks to Paul Schütze for the tip.)

Elsewhere on { feuilleton }
• The abstract cinema archive