{"id":5178,"date":"2009-05-16T02:52:46","date_gmt":"2009-05-16T01:52:46","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=5178"},"modified":"2009-05-18T19:32:34","modified_gmt":"2009-05-18T18:32:34","slug":"the-robing-of-the-birds","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/05\/16\/the-robing-of-the-birds\/","title":{"rendered":"The Robing of The Birds"},"content":{"rendered":"

\"birds.jpg\"<\/a><\/p>\n

Yet another of those curious Eastern European film posters which, to our Hollywood-colonised eyes, seem to violate all the conventions of cinema marketing. This example is a painting by Josef Vyletal for a 1970 Czech release of Alfred Hitchcock’s The Birds<\/em><\/a>. Surrealist art enthusiasts will immediately identify the floating figures as being cut loose from Max Ernst’s The Robing of the Bride<\/em><\/a> (1940). Compared to some Czech and Polish posters, the associations here aren’t so surprising; Ernst identified his alter-ego as a bird-headed individual named Loplop. Birds and bird-headed humans recur throughout his work. Hitchcock, meanwhile, famously commissioned Salvador Dal\u00ed to design the dream sequences in Spellbound<\/em><\/a> (1945). One of Ernst’s few appearances as an actor is in Hans Richter’s Dreams That Money Can Buy<\/em><\/a> (1947) a very Surrealist film which also features scenes informed by Ernst’s work. It’s a shame more directors didn’t take the opportunity to employ these talents while they were still alive.<\/p>\n

Previously on { feuilleton }
\n\u2022 Ballard and the painters<\/a>
\n\u2022 Franciszek Starowieyski, 1930\u20132009<\/a>
\n\u2022 Czech film posters<\/a>
\n\u2022 Hitchcock on film<\/a>
\n\u2022 Judex, from Feuillade to Franju<\/a>
\n\u2022 Impressions de la Haute Mongolie revisited<\/a>
\n\u2022 Dal\u00ed and Film<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Yet another of those curious Eastern European film posters which, to our Hollywood-colonised eyes, seem to violate all the conventions of cinema marketing. This example is a painting by Josef Vyletal for a 1970 Czech release of Alfred Hitchcock’s The Birds. Surrealist art enthusiasts will immediately identify the floating figures as being cut loose from … Continue reading “The Robing of The Birds”<\/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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,4,7,44,18],"tags":[416,254,415,128,112,87],"class_list":["post-5178","post","type-post","status-publish","format-standard","hentry","category-art","category-design","category-film","category-painting","category-surrealism","tag-alfred-hitchcock","tag-franciszek-starowieyski","tag-josef-vyletal","tag-judex","tag-max-ernst","tag-salvador-dali"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-1lw","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/5178","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=5178"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/5178\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=5178"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=5178"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=5178"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}