Franz Kafka – { feuilleton }

Weekend links 677

Design by Neville Brody, 1980.

• My work soundtrack for the past couple of weeks has been non-stop Cabaret Voltaire so this is pertinent. Neville Brody designed many of the group’s record sleeves in the 1980s as well as this poster and another one that I’ve only seen as a small picture in the first Brody book. He was also responsible for the CV logo which I never managed to find in badge form.

• “Anger’s preferred mode of artistry in his last decades was self-mythologising, and while he would return to filmmaking late in life, it was less as hierophant than totem—the worn keepsake of a once powerful magick.” Ryan Meehan remembers Kenneth Anger.

• New music: Waves by Ben Chasny and Rick Tomlinson, Topos by UCC Harlo, and Zango by WITCH.

Kafka’s perpetual redescription of his plight suggests that throughout his writing life he was less interested in finding a solution or even arriving at a single, definitive formulation of the problem than he was in exploring the implications and complications of his situation from new, unexpected angles and crafting an ever-expanding lexicon of figures for its inescapability.

Ross Benjamin, the translator of Franz Kafka’s diaries, on the neurotic concerns that Kafka turned into art

• “Why are men seemingly always naked in ancient Greek art?” Sarah Murray investigates.

• Artists for Bibi: an auction in aid of Arthur Machen’s great-great-granddaughter.

• At Public Domain Review: Unidentified Floating Object: Edo Images of Utsuro-bune.

• Steven Heller’s font of the month is Acorn.

• Old music: Moon Journey by Mort Garson.

• RIP Tony McPhee.

• Kafka (1964) by The Rowdies | Kafka (1982) by Masami Tsuchiya | Kafka (Main Title) (1992) by Cliff Martinez

Kafka’s machine

• In der Strafkolonie (In the Penal Colony, 1919), a short story by Franz Kafka

“Yes, the harrow,” said the Officer. “The name fits. The needles are arranged as in a harrow, and the whole thing is driven like a harrow, although it stays in one place and is, in principle, much more artistic. You’ll understand in a moment. The condemned is laid out here on the bed. First, I’ll describe the apparatus and only then let the procedure go to work. That way you’ll be able to follow it better. Also a sprocket in the inscriber is excessively worn. It really squeaks. When it’s in motion one can hardly make oneself understood. Unfortunately replacement parts are difficult to come by in this place. So, here is the bed, as I said. The whole thing is completely covered with a layer of cotton wool, the purpose of which you’ll find out in a moment. The condemned man is laid out on his stomach on the cotton wool—naked, of course. There are straps for the hands here, for the feet here, and for the throat here, to tie him in securely. At the head of the bed here, where the man, as I have mentioned, first lies face down, is this small protruding lump of felt, which can easily be adjusted so that it presses right into the man’s mouth. Its purpose is to prevent him screaming and biting his tongue to pieces. Of course, the man has to let the felt in his mouth—otherwise the straps around his throat would break his neck.” “That’s cotton wool?” asked the Traveler and bent down. “Yes, it is,” said the Officer smiling, “feel it for yourself.”

He took the Traveler’s hand and led him over to the bed. “It’s a specially prepared cotton wool. That’s why it looks so unrecognizable. I’ll get around to mentioning its purpose in a moment.” The Traveler was already being won over a little to the apparatus. With his hand over his eyes to protect them from the sun, he looked at the apparatus in the hole. It was a massive construction. The bed and the inscriber were the same size and looked like two dark chests. The inscriber was set about two metres above the bed, and the two were joined together at the corners by four brass rods, which almost reflected the sun. The harrow hung between the chests on a band of steel.

The Officer had hardly noticed the earlier indifference of the Traveler, but he did have a sense now of how the latter’s interest was being aroused for the first time. So he paused in his explanation in order to allow the Traveler time to observe the apparatus undisturbed. The Condemned Man imitated the Traveler, but since he could not put his hand over his eyes, he blinked upward with his eyes uncovered.

“So now the man is lying down,” said the Traveler. He leaned back in his chair and crossed his legs.

“Yes,” said the Officer, pushing his cap back a little and running his hand over his hot face. “Now, listen. Both the bed and the inscriber have their own electric batteries. The bed needs them for itself, and the inscriber for the harrow. As soon as the man is strapped in securely, the bed is set in motion. It quivers with tiny, very rapid oscillations from side to side and up and down simultaneously. You will have seen similar devices in mental hospitals. Only with our bed all movements are precisely calibrated, for they must be meticulously coordinated with the movements of the harrow. But it’s the harrow which has the job of actually carrying out the sentence.”

(Translation by Ian Johnston)

• An authorless construction for The Bachelor Machines, 1975–77, an exhibition curated by by Harald Szeemann

• Kafka: The Execution (1989), a comic strip by Leopoldo Duranona

Read the full strip.

• A page from Introducing Kafka (1993), an illustrated biography of Franz Kafka by David Zane Mairowitz and Robert Crumb

• In the Penal Colony, 1920, from Franz Kafka: Dreams, Diaries, and Fragments (1994), a print by Robert Andrew Parker

• Zoetrope (1999), a short film by Charlie Deaux

• Franz Kafka: The Peculiar Apparatus from the Story In the Penal Colony (undated), a sculpture by Martin Senn

Previously on { feuilleton }
• The Metamorphosis of Mr Samsa, a film by Caroline Leaf
• Kafkaesque
• Screening Kafka
• Designs on Kafka
• Kafka’s porn unveiled
• A postcard from Doctor Kafka
• Steven Soderbergh’s Kafka
• Kafka and Kupka

The Desert of the Tartars

The Desert of the Tartars (1976), an Italian film directed by Valerio Zurlini, is another of those cinematic works whose description in books would leave me tantalised and frustrated. A brief entry would tell you that the film existed but when would you ever get to see it? Last week I finally got to see this one thanks to a recent restoration via a French blu-ray disc which, for once, had English subtitles.

Zurlini’s film is an adaptation of The Tartar Steppe, the most popular of Dino Buzzati’s novels, and for a long time the only book of his that you could easily find in English. I often feel a little hypocritical when it comes to Buzzati. I’ve been telling people for years to look out for his strange stories—the phrase was used as a subtitle for a Calder & Boyars edition of Catastrophe—even though the translated collections were all out of print. The Tartar Steppe has been reprinted more than most yet I still haven’t read it. I’ll be correcting this now I’ve seen the film. Buzzati’s story concerns a young soldier, Lieutenant Drogo, being posted to a distant border fortress where a small company of soldiers awaits a barbarian invasion which they believe will come from the surrounding desert. All the soldiers are eager to experience the thrill of battle yet the invasion has so far refused to arrive. Matters are complicated when officers who were determined to stay are sent back home while Drogo, who says he was posted there by mistake, finds the place impossible to leave. A Cavafy poem, Waiting for the Barbarians, is credited as an inspiration for this, but the spectre of Franz Kafka haunts any story with a deferred or inaccessible resolution, and in that respect Buzzati’s novel, which was published in 1940, may be one of the first to learn from the example set by The Castle.

Jean-Louis Bertucelli and André G. Brunelin wrote the screenplay which was apparently criticised for not doing justice to Buzzati’s story. I can’t comment, obviously, but it wouldn’t be the first time the subtleties of a novel have been lost in the translation to the screen. Faithful or not, I was happy to be watching the thing at all, and besides which, familiarity with the source material can sometimes blind you to the other qualities of an adaptation. The film has a minimal score by Ennio Morricone, and an impressive cast that includes Philippe Noiret, Fernando Rey, Jean-Louis Trintignant and a dubbed Max von Sydow.

It also looks fantastic, with photography by Luciano Tovoli and spectacular locations in the Iranian desert. The ancient Bam citadel at Arg-e Bam in southern Iran provided the location for the Bastiani fortress, a massive and exceptionally photogenic ruin. A note at the end of the restored print tells us that the citadel and surrounding area was devastated in 2003 by an earthquake that claimed 26,000 lives and levelled the place. The citadel has since been rebuilt, so the film also serves now as a record of its former appearance.

As for Buzzati, it’s still a mystery why his books haven’t been made more widely available in English but matters improved recently with the republication of Catastrophe and Other Stories. He was also an accomplished artist whose illustrations are deserving of more attention. Some of these were featured at 50 Watts a few years ago, together with samples from his book-length graphic adaptation of the Orpheus myth, Poem Strip, from 1969.

Animating the pinscreen

Before the Law (1962).

The animated films of Alexandre Alexeieff and Claire Parker have been featured here on several occasions even though they remain hard to find. I linked to a YouTube collection a few years ago but—typically for YT rarities—it’s no longer available. One example that many people will have seen is Before the Law, the short prologue and film-within-the-film that appears in Orson Welles’ adaptation of Kafka’s The Trial. Before the Law, like all the Alexeieff and Parker films, was produced with the pinscreen, a unique piece of animation technology invented by the couple. The pinscreen’s white board contains thousands of tiny pins whose angled shadows can be manipulated by pushing the pins in or out to create sharp lines or subtle monochrome shades.

The pinscreen technique is almost always mentioned when Alexeieff and Parker’s work is being discussed but the structure and operation of the board hasn’t always been very clear. For a long time I thought that “pinscreen” was merely a useful name, and that the pins must be more like nails, rather like those desktop toys that mould your face or hand. This film from 1972, The Alexeieff-Parker Pin Screen [sic], opens with a detailed description of the device, immediately confirming that, yes, those really are thousands of tiny black pins set into a board. The documentary was made for the National Film Board of Canada by another great animator, Norman McLaren, who can be seen hovering in the background from time to time. McLaren and the NFB wanted to record Alexeieff and Parker discussing the pinscreen and its operation so a tutorial might be preserved for future animators.

The pair are seen introducing a smaller version of their original pinscreen to a group of would-be users, a board containing 240,000 pins; the screen used to create Before the Law was four times the size with over a million pins. The operation of the device seems slow and cumbersome at first, especially when great care has to be taken to draw lines or shapes by raising or lowering the pins without damaging them at all. But having a surface that was both static yet manipulable must have offered advantages over more traditional animation methods using paint or charcoal. The most surprising detail for me was seeing Alexeieff and Parker working on both sides of the screen, with Alexeieff pushing in the pins to create light areas and Parker pushing them out again to return the area to its original black. The documentary ends with a short sequence showing animation experiments made by the students.

I said earlier that Alexeieff and Parker’s films can be hard to find but there was a DVD collection released a few years ago which I recall trying to order from some French website that wouldn’t co-operate. I thought it might be thoroughly unavailable by now but copies are still on sale at the very reliable Re:voir so I’ve just ordered one. For a taste of Alexeieff and Parker’s prowess with this kind of animation there’s En Passant (1944), two miraculous minutes illustrating a French-Canadian folk song.

Previously on { feuilleton }
• The pinscreen works of Alexandre Alexeieff & Claire Parker
• The Nose, a film by Alexandre Alexeieff & Claire Parker
• Alexandre Alexeieff and Claire Parker

Weekend links 461

Le Stryge (The Vampire) (1853) by Charles Méryon.

• Notre-Dame-de-Paris in art and photography. Related: Chris Knapp on the Notre-Dame fire, and John Boardley on the print shops that used to cluster around the cathedral. Tangentially related: Mapping Gothic France.

• The Bodies Beneath: The Flipside of British Film & Television by William Fowler and Vic Pratt will be published next month by Strange Attractor. With a foreword by Nicolas Winding Refn.

• “In his new biweekly column, Pinakothek, Luc Sante excavates and examines miscellaneous visual strata of the past.”

I also gathered underland stories, from Aeneas’s descent into Hades, through the sunken necropolises of Italo Calvino’s Invisible Cities and the Wind Cave cosmogony of the Dakota Sioux, to accounts of the many cavers, cave-divers and free-divers who have died seeking what Cormac McCarthy calls “the awful darkness inside the world”—often unable to communicate to themselves, let alone others, what metaphysical gravity drew them down to death. Why go low? Obsession, incomprehension, compulsion and revelation were among the recurrent echoes of these stories—and they became part of my underland experiences, too.

Robert Macfarlane on underworlds real and imagined, past, present and future

• Mixes of the week: FACT Mix 703 by Mary Lattimore, and The Colour Of Spring by cafekaput.

• A witty appraisal by Anna Aslanyan of a lipogrammatic classic and its smart translation.

• “Unseen Kafka works may soon be revealed after Kafkaesque trial.”

• “Why do cats love bookstores?” asks Jason Diamond.

• Sunn O))) pick their Bandcamp favourites.

• Le Grand Nuage de Magellan

• Cathedral In Flames (1984) by Coil | The Cathedral of Tears (1995) by Robert Fripp | Cathedral Et Chartres (2005) by Jack Rose