![\"terayama.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/01\/terayama.jpg\")
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27 minutes of experimental video from 1977 in which director Shuji Terayama retrieves some predictably unorthodox images from the bottomless pit of Lautr\u00e9amont’s text. The preoccupations here seem to belong as much to the director’s mind as to that of Isidore Ducasse, what with the emphasis on various forms of bondage and unusual erotics. (Not that Maldoror<\/em> lacks sexual material but what there is adopts a different guise.) With a score that sounds like outtakes from a Clock DVA studio session it’s very much a product of its time, but not without interest. Terayama was (among other things) the director of Emperor Tomato Ketchup<\/em><\/a> (1971), a film whose title was later swiped by Stereolab<\/a>. Les Chants de Maldoror <\/em>may be viewed at Ubuweb<\/a>.<\/p>\n Previously on { feuilleton } 27 minutes of experimental video from 1977 in which director Shuji Terayama retrieves some predictably unorthodox images from the bottomless pit of Lautr\u00e9amont’s text. The preoccupations here seem to belong as much to the director’s mind as to that of Isidore Ducasse, what with the emphasis on various forms of bondage and unusual erotics. (Not … Continue reading “Les Chants de Maldoror by Shuji Terayama”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[42,7,18],"tags":[4248,510,4046,5686,2407,428],"class_list":["post-14819","post","type-post","status-publish","format-standard","hentry","category-books","category-film","category-surrealism","tag-clock-dva","tag-lautreamont","tag-maldoror","tag-shuji-terayama","tag-stereolab","tag-ulysses"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3R1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14819","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=14819"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14819\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14819"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14819"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14819"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"terayama2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/01\/terayama2.jpg\")
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\n\u2022 Polypodes<\/a>
\n\u2022 Ulysses versus Maldoror<\/a>
\n\u2022 Maldoror<\/a>
\n\u2022 Books of blood<\/a>
\n\u2022 Magritte\u2019s Maldoror<\/a>
\n\u2022 Frans De Geetere\u2019s illustrated Maldoror<\/a>
\n\u2022 Maldoror illustrated<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"