Chickamauga

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They were men. They crept upon their hands and knees. They used their hands only, dragging their legs. They used their knees only, their arms hanging idle at their sides. They strove to rise to their feet, but fell prone in the attempt. They did nothing naturally, and nothing alike, save only to advance foot by foot in the same direction. Singly, in pairs and in little groups, they came on through the gloom, some halting now and again while others crept slowly past them, then resuming their movement. They came by dozens and by hundreds; as far on either hand as one could see in the deepening gloom they extended and the black wood behind them appeared to be inexhaustible. The very ground seemed in motion toward the creek.

Chickamauga (1891) by Ambrose Bierce

Chickamauga (1962) is another of Robert Enrico’s three short films based on the Civil War stories of Ambrose Bierce. The withdrawal of hope at the end of An Occurrence at Owl Creek Bridge may seem bleak but that story is positively cheerful beside the horrors of Chickamauga in which a small deaf boy wanders from home to find a new playground in the aftermath of one of the bloodiest battles of the Civil War. The story is grim enough for it to find its way into horror anthologies which is where I first read it. Once again Enrico’s adaptation is very faithful, and the way he uses songs as a commentary makes more sense of the similar use in An Occurrence at Owl Creek Bridge. This copy of the film is another grainy one from VHS but it’s the only one you’ll see for now. The same YouTube channel has the third of the director’s Bierce adaptations, The Mockingbird, a lesser piece than the other two but still worth a watch, not least because these films have been out of circulation for so long. See also: Robert Enrico’s Civil War Trilogy by Justine Smith.

Previously on { feuilleton }
An Occurrence at Owl Creek Bridge

An Occurrence at Owl Creek Bridge

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Still with the short films, this is one I’ve known about for years but only recently seen. La Rivière du Hibou was Robert Enrico’s 1962 adaptation of the oft-reprinted Civil War story by Ambrose Bierce, An Occurrence at Owl Creek Bridge. Enrico made three such films from Bierce’s stories, this being the most celebrated; in addition to gaining awards it was also screened as part of The Twilight Zone series which makes me wonder how I’ve managed to miss it for so long. As an adaptation it’s very faithful if you overlook the awkward interjection of a song halfway through.

This particular tale I now find overly familiar since I adapted it in comic strip form in 2003 for the Ambrose Bierce number of Graphic Classics. That strip was one of the last comics I produced, a somewhat misguided attempt at using 3D software. My adaptation involved a great deal of guess-work at the military and other details so I watched Enrico’s opening scene with a sense of relief that his version isn’t so different from my own. The shots here are from this grainy copy of the film. There’s a better copy here from the Twilight Zone screening with Spanish subtitles added.

Weekend links 113

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Wunderkammer (2011) by Emma Leonard.

As someone who was eight years old at the time of the Apollo moon landing, I remember calculating that I would be thirty-nine in the magic year 2000 and wondering what the world would be like. Did I expect I would be living in such a world of wonders? Of course. Everyone did. Do I feel cheated now? It seemed unlikely that I’d live to see all the things I was reading about in science fiction, but it never occurred to me that I wouldn’t see any of them.

A quote from Of Flying Cars and the Declining Rate of Profit, an essay by David Graeber. Related: Another World: David Graeber interviewed by Michelle Kuo at Artforum.

Constellation, a series of portraits by Kumi Yamashita: “This body of work consists of three simple materials that, when combined, produce the portraits: a wooden panel painted a solid white, thousands of small galvanized nails, and a single, unbroken, common sewing thread.”

Nicole Rudick at The Paris Review on the history of psychedelic art. Related: The psychedelic art and design of Keiichi Tanaami. Also Manifesting the Mind: Footprints of the Shaman, a two-hour documentary about psychedelic drugs.

• Already mentioned here, The Lost Tapes, a 3-CD collection of previously unreleased recording by the mighty Can, is out on Monday. There’s a preview of ten of the tracks here.

• “I can’t think of anybody who would have a good word to say for centipedes…” Duncan Fallowell (a Can associate for many years) interviewed William Burroughs in 1982.

Herb Lubalin: American Graphic Designer and the Herb Lubalin Study Center’s Flickr sets.

Strange Flowers goes to the movies with everyone’s favourite Bavarian king, Ludwig II.

The Sphinx’s Riddle: The Art of Leonor Fini at the Weinstein Gallery, San Francisco.

• More Teutonica: A Spacemusic Primer by Dave Maier.

Van Dyke Parks: return of a musical maverick.

Forty Posters for Forty Years at Pentagram.

Donovan’s Colours (1968) by Van Dyke Parks | Sailin’ Shoes (1972) by Van Dyke Parks | Clang Of The Yankee Reaper (1975) by Van Dyke Parks.

Arrow by The Irrepressibles

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I’ve kept wondering when we’d hear more from The Irrepressibles following the release of their wonderful Mirror Mirror album. Here at last is a new song, Arrow, from a forthcoming album, Nude. Lyrical allusions to Saint Sebastian accompany two naked guys wrestling until…well, go and see. (Thanks to Thom for the tip!)

Directed & choreographed by Jamie McDermott
Camera Person: Kate Perring
Filmed at Studio 7, Alston Works, London.

Previously on { feuilleton }
Los Bikers by Dënver
The Lady Is Dead and The Irrepressibles

Animating Piranesi

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Piranesi Carceri d’Invenzione (2010).

When Peacay at BibliOdyssey linked to this short film by Grégoire Dupond I thought it might be one I hadn’t seen before but it turns out I have, and I mentioned the exhibition it was produced for in 2010. No matter, it’s worth drawing attention to again since Monsieur Dupond makes an impressive job of sending a virtual camera through the vast spaces of Piranesi’s Carceri d’invenzione, joining several of the etchings into a series of contiguous chambers.

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The Sound of the Carceri (1998).

Dupond’s film uses Bach’s Cello Suite #2 as a musical accompaniment. As noted earlier that choice probably came from Yo-Yo Ma’s Inspired by Bach (1998) in which Bach’s six solo cello suites are performed in different settings. Suite #2 was The Sound of the Carceri directed by François Girard which places the cellist inside a CGI rending of one of Piranesi’s Careri etchings. YouTube has a copy here.

Elsewhere on { feuilleton }
The etching and engraving archive

Previously on { feuilleton }
Carceri, thermae and candelabra
La Tour by Schuiten & Peeters
Set in Stone
Piranesi as designer
Vedute di Roma
Aldous Huxley on Piranesi’s Prisons