{film} – Page 5 – { feuilleton }

Weekend links 806

Cover art by George Wilson for The Twilight Zone #45, September 1972. Via.

• At Public Domain Review: Thea Applebaum Licht on the history of art within art, or cabinets of curiosity and paintings within paintings.

• The final 2025 catalogue of lots for the After Dark: Gay Art and Culture online auction. Homoerotic art, photos, historic porn. etc.

• At Smithsonian Mag: See the “Mona Lisa of Illuminated Manuscripts,” a 600-Year-Old Bible covered in intricate illustrations.

It’s amazing, the number of people out there who love everything about queer life except for queer sex, who would prefer that sex and sexual orientation live in entirely different zip codes, that they exist as non-overlapping magisteria; it’s so much safer that way. Who wants gay sex polluting their enjoyment of the abstraction that is Being Gay?

That is what gay love is, now, in the collective imagination of American commerce: a set of identity relations projected onto bored and indifferent celebrities who will half-heartedly play along with the idea because doing so moves units and, anyway, what does it cost them? The more that sexual orientation slouches to the point of pure abstraction, the less effort it takes. Anyone and anything can be gay, now, because gay is just a set of pompous liberal cultural signifiers that have no earthly material relation to homosexuals.

“I miss when homoeroticism was erotic,” says Freddie deBoer. I’ve made similar complaints myself over the years. For some genuinely erotic homoeroticism, see the latest auction link above.

• At Ultrawolveunderthefullmoon: Illustrations for Edmund Weiss’s Bilderatlas der Sternenwelt.

• DJ Food’s latest harvestings of psychedelic ephemera may be seen here.

• At Dennis Cooper’s: Bruce Connor’s Day.

• The Strange World of…David Lynch.

• RIP Udo Kier and Tom Stoppard.

• Atlanta Surrealist Group

• Menergy (1981) by Patrick Cowley | Eros Arriving (1982) by Bill Nelson | Erotic City (“Make Love Not War Erotic City Come Alive”) (1984) by Prince & The Revolution

Weekend links 805

A poster by Peter Strausfeld for a 1966 screening of Alphaville and La Jetée.

• At Bandcamp Daily: “Caroline True obsesses over compilations so you don’t have to,” says Erick Bradshaw. I recommend CTR’s compilations.

• At The Wire: Read an extract from Music Stones: The Rediscovery Of Ringing Rock by Mike Adcock.

• At Colossal: Pastoral landscapes brim with patterns in luminous paintings by David Brian Smith.

One of the markers that sets Mamoru Oshii apart from his peers is his willingness to allow place to speak for itself. From the seasonality captured in his works, like the first two Patlabor films, to the otherworldly environments of Ghost In The Shell 2: Innocence (all projects in which Ogura was also involved heavily) and even the fantasy scapes of his Angel’s Egg, Oshii’s attention to place, and allowing it to be a player in the story, gives as much voice to world building, as he does to characterisation. This attentiveness and patience for place, allows us to settle deeply inside a worldview that is often simultaneously familiar but unerringly alien.

Lawrence English talks to art director Hiromasa Ogura and composer Kenji Kawai about their work on Oshii’s Ghost in the Shell

• At the BFI: Leigh Singer suggests where to begin with the films of Lucile Hadžihalilović.

• Necromodernist Architectures in Contemporary Writing: an essay by David Vichnar.

• New music: Hydrology by Loula York; Love Letters Via Echelon by Nerthus.

• There’s more Intermittent Eyeball Fodder at Unquiet Things.

• The Strange World of…Early Cabaret Voltaire.

• Winners of the Drone Photo Awards 2025.

• Lautréamont’s Apocrypha

• Drone Um Futurisma (1992) by Cusp | ABoneCroneDrone 1 (1996) by Sheila Chandra | Suspicious Drone (2009) by Demdike Stare

Weekend links 804

Poster for The Phantom of the Opera, 1925. The first Universal horror film, and the best screen adaptation of Gaston Leroux’s novel, was released 100 years ago this month.

• “Evolution seems to have a thing for mind-bending molecules here on planet Earth. Psychedelics are more widespread in nature than you might think. These remarkable compounds, which can profoundly alter consciousness, arose repeatedly across evolutionary time, stretching back at least 65 million years. To date, some 80 species of fungi, at least 20 plants, and a species of toad have been documented to produce psychoactive molecules. And scientists continue to identify new ones.” Kristin French presents a trip around our surprisingly psychedelic planet.

• “There was no condescending sense with Potter —all too present today as then—that the public were idiots who needed to be intellectually housetrained, by their enlightened ‘betters’. […] Television was not treated as a particularly serious medium, something Potter upended not by performing ‘seriousness’ but by bringing out the possibilities few had believed it contained.” Darran Anderson on the television plays of Dennis Potter.

• At Public Domain Review: AD Manns on a possible origin for the occult lore presented in Charles Godfrey Leland’s Aradia, Or the Gospel of the Witches, a founding text for the witchcraft revival of the 20th century.

• New music: Implosion by The Bug vs Ghost Dubs; Herzog Sessions by Mouse On Mars; VHS Days Vol. 1 by Russian Corvette.

• At Wyrd Britain: A link to a video interview in which the great Ian Miller about his long illustration career.

• At the BFI: David West selects 10 great Hong Kong action films of the 1980s.

• Mix of the week: DreamScenes – November 2025 at Ambientblog.

• At The Wire: Stream the new album by Ann Kroeber & Alan Splet.

• Seb Rochford’s favourite records.

• RIP Tatsuya Nakadai, actor.

• Phantom Lover (2010) by John Foxx | Phantom Cities (2020) by The Sodality Of Shadows | Phantom Melodies (2018) by Cavern Of Anti-Matter

Weekend links 802

November (1879) by John Atkinson Grimshaw.

• As usual, the first links in November are heavy with the spirit of Halloween. At the BFI: Zombies in the Lake District: how locations from The Living Dead at Manchester Morgue look today; Adam Scovell looks back at one of the more curious zombie films of the 1970s, a Spanish/Italian production directed by Jorge Grau in and around my home city. Also at the BFI: Georgina Guthrie selects 10 great erotic horror films.

• “We must recognise that reality without mystery is impossible.” In a recently digitised film clip, René Magritte is interviewed (in French) by Belgian TV in 1961.

• The Italian edition of The Moon and Serpent Bumper Book of Magic is out now from Panini. Thanks to Smoky Man for posting photos!

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: Short Fiction by Saki.

• At Smithsonian Mag: Elizabeth Djinis explains how an Italian town came to be known as the “City of Witches”.

• New music: The Whole Woman by Anna von Hausswolff ft. Iggy Pop; Forces, Reactions, Deflections by Scanner.

• RIP Jack DeJohnette, jazz drummer; Prunella Scales, actor; Peter Watkins, film-maker.

• Space Type Generator

• Algiers November 1, 1954 (1965) by Ennio Morricone | November Sequence (2011) by Pye Corner Audio | Richter: November (2019) by Mari Samuelsen

Jean Epstein’s House of Usher

There’s always more Poe. A couple of years ago I wrote about the short American film adaptation of The Fall of the House of Usher co-directed by James Sibley Watson and Melville Webber. Watson and Webber’s experimental take on Poe was made in 1928, and happens to be one of two films based on the story that were made that year.

This week I watched the longer French adaptation (La Chute de la Maison Usher) directed by Jean Epstein, a very impressive silent film which changes a few details—Roderick and Madeline Usher are now husband and wife rather than brother and sister—but otherwise remains close to Poe’s tale. Epstein’s film is notable for having Luis Buñuel’s name on its screenplay credits but disputes between Buñuel and Epstein means few of Buñuel’s contributions survived. The film is also noted for its dream-like atmosphere, a quality the director favours over storytelling to such a degree that it helps if you’re already familiar with the story.

Epstein’s house of Usher is toy-like castle in exterior shots whose interior reveals cavernous spaces as vast as Charles Foster Kane’s Xanadu living room, with billowing curtains that make the place a precursor of the magical castle in Cocteau’s La Belle et la Bête. Jean Debucourt is a Roderick Usher who spends his time obsessively painting the doomed Madeline (Marguerite Gance), paying no attention to her increasing fraility. Poe’s visiting guest in this version is an aged man (Charles Lamy) with sight and hearing difficulties which contribute to the general ignorance of Madeline’s plight. In one of the opening scenes, director Abel Gance (the husband of Marguerite) may be seen inside an inn. Gance is best known today for the bravura cinematic invention of his 1927 Napoleon (which I recommend), but Epstein shows himself a match for Gance in the range of effects he brings to the Ushers’ plight: rapid edits, slow motion, double-exposures, low-angle shots, and a remarkable point-of-view sequence where Roderick seems to be floating through the hall. Later in the film the camera drifts along the mansion corridors following wind-blown leaves, a forerunner of all the Steadicam shots of the 1980s.

I was watching this copy of the film, an excellent print (no doubt swiped from disc) with French intertitles. The downloadable files include a subtitle file but with Portuguese subtitles only. English subs may be found here.

Previously on { feuilleton }
• Robert Lawson’s House of Usher
• The Fall of the House of Usher, 1928
• Burt Shonberg’s Poe paintings