Children of the Stones

cots1.jpg

“Pretty phantasmagorical!” says precocious teenager Matthew when he and his father drive into the fictional village of Milbury in the opening scene of Children of the Stones. Matthew’s father is a scientist whose work requires a three-month stay in a village built in the centre of a series of ancient ramparts and stone circles. Once settled, they find many of the villagers to be blandly cheerful, while Matthew discovers that his maths skills at the local school pale beside younger children who can solve complex equations with ease. Omnipresent characters in the village are Hendrick, a retired astronomer who owns the local manor house and acts as village squire; Margaret, a newly-arrived archaeologist who knows the history of the stones; and Dai, a vagrant poacher who lives outside the circle, and who seems eager to remain free of the Stepford-like happiness afflicting his neighbours.

cots2.jpg

Matthew (Peter Demin).

Matthew’s “phantasmagorical” epithet is directed at the neolithic mound outside the village but could easily apply to the whole of this seven-part serial which I watched again recently. HTV produced Children of the Stones which was first broadcast in early 1977. A mystery serial for children involving pagan history, folk rituals and an undercurrent of science fiction wasn’t such a surprising thing in the 1970s, this being a decade when a popular interest in the occult and the paranormal was more prevalent than at any time before or since. Children’s television reflected adult trends which is why we got to see an adaptation of Alan Garner’s The Owl Service, the occult adventure series Ace of Wands (with its hero named “Tarot”), The Tomorrow People (which occasionally strayed from science fiction to science fantasy) and others (see an earlier post, Occultism for kids). Children of the Stones was the most complex of all of these, a well-crafted drama with similarities to Nigel Kneale’s TV plays, The Wicker Man and The Prisoner. With a slight change of emphasis it would have worked just as well as a serial for adults. The best children’s serials of the period were usually adaptations of novels; Children of the Stones was an original work for television, written by Jeremy Burnham & Trevor Ray, and directed by Peter Graham Scott.

cots4.jpg

Adam (Gareth Thomas), Margaret (Veronica Strong) and Hendrick (Iain Cuthbertson).

Continue reading “Children of the Stones”

The art of Gregorio Prieto, 1897–1992

prieto01.jpg

Predicadors del be i del mal (c. 1928–1930).

My thanks to Will at 50 Watts for sending these experimental photos by Spanish artists Eduardo Chicharro (1873–1949) and Gregorio Prieto, neither of whose work I’d looked at before. Prieto is of most interest here (that’s him in photo five with the metalwork wrapped around his head) for the homoerotic quality of his other work, a quality which no doubt explains why some of these pictures set the gaydar bells ringing. I thought that Javier at Bajo el Signo de Libra might have featured Prieto already but it seems not.

prieto02.jpg

Iluita (c. 1928–1930).

The photos are from Les avantguardes fotografiques a espanya, 1925–1945. The superimposed images are reminiscent of those that Emil Cadoo was producing in the 1950s albeit with more of a deliberate Surrealist flavour; the ruins and Classical references are also a feature of Prieto’s paintings, some of which can be seen here. (Also a coloured print of the first photo above.) The homoerotics is most evident in his line drawings, some of which can be seen here. His reclining youths and embracing sailors look rather Cocteau-like but they probably owe more to the etchings of Picasso’s Vollard Suite which were being produced around the same period. There’s more Picasso-esque Prieto at Flickr including a drawing dedicated to Lorca.

prieto03.jpg

Metamorfosi (c. 1928–1930).

Continue reading “The art of Gregorio Prieto, 1897–1992”

Frantisek Drtikol’s Salomés

drtikol1.jpg

Salomé (c. 1919).

Frantisek Drtikol (1883–1961) was a Czech artist and photographer whose nude studies frequently borrowed fin de siècle themes. Salomé was a subject he returned to on many occasions with different models. In other hands this might be a pretext for showing naked flesh but Drtikol’s work goes beyond mere soft porn with his female figures (and the occasional males) juxtaposed against abstract shapes and shadows, giving them the appearance of Art Deco figurines. There’s a foretaste of that development in the strip of white in the picture below. See more of his earlier work here.

drtikol2.jpg

Salomé (c. 1920).

Elsewhere on { feuilleton }
The Salomé archive

Weekend links 134

ulian.jpg

Technological mandala 02 (The beginning) (2012) by Leonardo Ulian.

• The Yellow Magic Orchestra really were the Japanese equivalent of Kraftwerk in 1978. I’d not seen this video for Firecracker before. Same goes for the Technopolis and Rydeen videos. Related: YMO’s synth programmer, Hideki Matsutake, showing off his modular Moog on a Japanese TV show.

Sra is the final book in the Aedena Cycle by Moebius. It’s never been translated into English but Quenched Consciousness has just finished posting the entire book in an unofficial translation.

• “It’s better to have a small amount of good comics, than a big amount of mediocre comics.” Dutch comic artist Joost Swarte interviewed.

• From 2007: The Strange Lovecraftian Statuary of Puerto Vallarta (Thanks, Ian.) Related: More art by Alejandro Colunga.

steam.jpg

A novelty mechanical clock barometer in the form of a steam engine (c. 1885).

The MR-808: a room-size TR-808 drum machine by Moritz Simon Geist with real instruments played by robot hands.

• “Shoot us and dig the grave; otherwise we’re staying.” The women living in Chernobyl’s toxic wasteland.

Hotel Room Portraits 1999–2012 by Richard Renaldi, a new photo exhibition at Wessel + O’Connor.

Lane’s Telescopic View of the Opening of the Great Exhibition, 1851.

• “I’m the target market, and I don’t like it!” A Creative Catharsis.

Brian Eno’s new ambient album, Lux, is released on Monday.

Collages by Sergei Parajanov.

Techno City (1984) by Cybotron | Techno Primitiv (1985) by Chris & Cosey | Techno Dread (2008) by 2562.

Reverbstorm in print

rev1.jpg

A couple of months ago I was starting to wonder whether I’d ever see this book printed, the production process became so tortuously drawn out. But Reverbstorm is finally in print and looking exactly the way I intended with black boards, black endpapers and black ink on the page edges. The latter proved to be a costly extra which explains why it’s an uncommon effect.

rev2.jpg

More important than the book design is that the printing of the artwork is excellent, with rich blacks and pin-sharp detail throughout. You’d think that printing black-and-white pages was a fairly straightforward business but the first set of proofs were pretty disastrous, the ink bleeding over the edges of many panels and detail elsewhere being blacked in. A combination of copious cross-hatching, spattered ink and—on later pages—brush shading and monochrome painting proved to be too much when the A3 artwork was reduced to half its size. This was particularly galling since these pages had never been properly printed since they were drawn: the original comics looked glossy enough but were all produced by back-street printers who didn’t bother too much about quality, and even made mistakes. They were a necessary evil at a time when other Savoy books had been refused by printers who objected to the material they contained. The relief at finally seeing the series completed and printed to this standard is considerable.

rev3.jpg

However, I’m afraid would-be purchasers still have a slight wait before they can buy a copy. The official publication date will now be early February but copies will be available to buy from the first week in January after distribution details have been finalised. I tried to persuade Savoy to relent on this and let a few copies go out prematurely but that won’t be happening. Sorry to anyone who’s been waiting since April (!) for the book but the decision is out of my hands. I believe it’ll be worth the wait. This is a better book than The Haunter of the Dark, and the best (and last) thing I’ll do in the comics medium. Next up is Axiom, a different world entirely. More about that later.

rev4.jpg

Previously on { feuilleton }
Reverbstorm update
James Joyce in Reverbstorm
A Reverbstorm jukebox
Reverbstorm: Bauhaus Horror
Reverbstorm: an introduction and preview