Vilmos Zsigmond, 1930–2016

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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.

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Images (1972).

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Deliverance (1972).

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The Long Goodbye (1973).

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The Deer Hunter (1978).

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Heaven’s Gate (1980).

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Heaven’s Gate (1980).

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Heaven’s Gate (1980).

Weekend links 290

coin

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

The weekend artists, 2015

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Fathomless Sounding (1932) by Gertrude Hermes.

This should have been the last post of the year but Ken Murphy’s film made a more fitting end. This is still the laziest post of the year, however, being a review of the artists/designers/photographers from 50 or so weekend posts. Scroll down to see what caught my attention over the past twelve months.

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Untitled drawing by Jean Gourmelin.

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Cover by Valentine Hugo for Contes Bizarres (1933) by Achim d’Arnim. See Hugo’s interior illustrations here.

Continue reading “The weekend artists, 2015”

A History of the Sky, a film by Ken Murphy

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This is a year-long time-lapse study of the sky. A camera installed on the roof of the Exploratorium museum in San Francisco captured an image of the sky every 10 seconds. From these images, I created a mosaic of time-lapse movies, each showing a single day. The days are arranged in chronological order. My intent was to reveal the patterns of light and weather over the course of a year.

I once filled out a three-hour VHS tape with a single shot of drifting clouds using my old video camera. I was thinking at the time of Brian Eno’s studies of the skies over Manhattan but the roofs of South Manchester can’t compete with those of New York City. Ken Murphy’s film is a slowly evolving mosaic that also serves to remind us northerners how quickly the night comes to California.

Previously on { feuilleton }
Mistaken Memories Of Mediaeval Manhattan