Gratuitous nudity #13

Women of Domai is filled with world class instances of gratuitous nudity, such as these hourglass shaped figures [1][2].

Bathing in an almost infantile innocence, Domai’s content[3] is a welcome interruption to the more explicit and sometimes abject stroke material most of us find on our internet travels.

Their editors are have a sense of humor and a level of sophistication:

“Last Sunday I was up early for once. (To quote Robert Heinlein: “Progress isn’t made by early risers. It’s made by lazy men trying to find easier ways to do something.”) I went for a walk in the quiet town.”–Eolake Stobblehouse via [4]

Had he not succumbed to the complications of AIDS in 1997

Unidentified photograph of Fela Kuti

The Nigerian musician Fela Kuti would have celebrated his 70th birthday today, had he not succumbed to the complications of AIDS in 1997.

Like much of my music which I now consider canonical, I discovered him through my house music love story.

[Youtube=http://www.youtube.com/watch?v=AgpQNENsmo4]

Digression #1, namesake of “Shakara” track by Fela Kuti, [1] has embedding disabled

He first popped up as the author of “Shakara“[1] on playlists of David Mancuso‘s legendary The Loft. Playlists I discovered of course via the internet.

Africa

Cover of a Japanese Fela Kuti compilation album

The pre-internet world was literally a terra incognita. If one found a record by Fela Kuti, one had to find good sources to discover the rest of his releases. Today we’ve moved to a terra cognita. One glance at Discogs is enough to discover the oeuvre of Fela.

What we still need though, in spite of the terra cognita situation, are tastemakers. Biased tastemakers.

Simon Reynolds has blamed the terra cognita thing for the supposed death of the underground, he will be hosting a conference on this soon[2].

He stated on this before:

“The web has extinguished the idea of a true underground. It’s too easy for anybody to find out anything now, especially as scene custodians tend to be curatorial, archivist types. And with all the mp3 and whole album blogs, it’s totally easy to hear anything you want to hear, in this risk-less, desultory way that has no cost, either financially or emotionally.” Simon Reynolds via woebot.

One more word on Fela. Woebot once said – I paraphrase – “I’ll take King Sunny Adé over Fela Kuti any day. Too much redundancy in Fela.”I disagree. I like long pieces and love Fela’s trance. Which reminds me, I miss Woebot.

[Youtube=http://www.youtube.com/watch?v=hMUWn_jRk0E&]

Unidentified clip of Sunny Ade

Here is a quote from that Woebot post:

“Sunny Ade gets my vote over Fela Kuti anyday. There’s too much redundancy in Fela’s music, saxophones and organs meandering all over the place. Shaggy ain’t my thing. While the political ire and philosophical stance of something like “Kalakuta Republic” are rousing, in preference I’ll take the sheer sonic thrill of Tony Allen‘s edge-of-climax drum pans on the more “superficial” dance craze record “Open and Close“. That record retains the JB‘s hyper-tense instrumental dynamics and one-mind co-operation, without degenerating into marijuana miasma.”[3]

Saint Anthony at the movies

Perhaps the ultimate and most underrated dream vision (underrated because it is not recognized as a dream vision) in the history of Western literature is the The Temptation of St. Anthony, here [1] painted by Domenico Morelli as Le Tentazioni di Sant’Antonio, also the title of an Italian film of 1911 which depicts Flaubert’s version.

Domenico Morelli - Le tentazioni di Sant'Antonio by you.

[1] painted by Domenico Morelli as Le Tentazioni di Sant’Antonio,

Saint Anthony has not been popular among writers nor filmmakers but has been very influential to painters, the dream visions lend themselves perfectly to exploring taboo subject matter.

Temptation of Saint Anthony by Melies with woman on cross by you.

[2]

Only two notable filmmakers had a go at the story, Georges Méliès in 1898 and the aforementioned Italian version of 1911.

Then there is the curious case of The Private Affairs of Bel Ami[3]. For the realisation of this film Loew-Lewin Productions announced a “Temptation of St. Anthony” contest. David Loew and Albert Lewin had persuaded twelve modern artists to paint Anthony’s vision. Each artist was commissioned for $500. Max Ernst was the $3,000 prizewinner.

The work was to be shown in a close-up at a key moment in the film.

max_ernst_anthony by youngmanblues.

[4]

Although Max Ernst‘s rendition (here[5] in a better scan) was the winning work, Salvador Dalí‘s contribution[6] (featuring a parade of spider-legged elephants tormenting the saint) went on the become better-known.

Dream sequences in literature and film

[Youtube=http://www.youtube.com/watch?v=D2eVb4CC4XU]

Dream sequence in La Prisonnière (1968) by Henri-Georges Clouzot

I love dream sequences in film. Every Disney film has nearly one. Always psychedelic. Film as a medium is particularly well-suited to impart dream visions, much better than previous visionary literature, which required more narrative realism.

An interesting juxtaposition here is Dante‘s Divine Comedy compared to its first film adaptation[1].

[Youtube=http://www.youtube.com/watch?v=RA3NRe5kgak]

L’Inferno

The Divine Comedy exemplifies the conventions of dream-vision literature, though Dante specifically says that his Comedy is not a dream vision.

I guess what this post comes down to is the boring but somehow unavoidably attractive “literature vs. cinema” debate I’ve been engaging in.

The debate is boring when you limit it to either/or, but of interest if you view it from its technical angle, with fiction at the center, and medium-specificity at its perifery.

Notions such as unfilmability provide the best entry point.

But that notion I was not thinking about when going to bed last night. I thought about cinematic effects in literature, a notion first put forward to my knowledge by Lotte H. Eisner in The Haunted Screen.

She writes:

“Romantic authors such as Novalis or Jean Paul, while anticipating the Expressionist notions of visual delirium and of a continual state of effervescence, also seem almost to have foreseen the cinema’s consecutive sequences of images. In the eyes of Schlegel in Lucinde, the loved one’s features become indistinct: ‘very rapidly the outlines changed, returned to their original form, then metamorphosed anew until they disappeared entirely from my exalted eyes.’ And the Jean Paul of the Flegeljahre says: ‘The invisible world wished, like chaos, to give birth to all things together; the flowers became trees, then changed into columns of cloud; and at the tops of the columns flowers and faces grew. In Novalis‘s novel Heinrich von Ofterdingen there are even superimpositions.”

Der letzte Mann

Example of a superimposition in The Last Laugh (1924) – Murnau

She concludes:

“It is reasonable to argue that the German cinema is a development of German Romanticism, and that modern technique [cinematography] merely lends visible form to Romantic fancies.”

La Prisonnière is World Cinema Classic #67, L’Inferno #68.

Alton Ellis (1940 – 2008)

Alton Ellis (September 1, 1940 – October 10, 2008), was a Jamaican musician best known for such singles as “I’m Still In Love,” “Rock Steady” (which gave the rocksteady genre its name), “Can I Change My Mind “[1]; as well as the originator of the Mad Mad riddim.  Ellis is survived by his wife and more than 20 children.

[Youtube=http://www.youtube.com/watch?v=w3JqGtjuLJk]

“I’m Still In Love”by Alton Ellis

[Youtube=http://www.youtube.com/watch?v=1kthwkH7k-0]

“Rock Steady” which gave its name to the genre.

[Youtube=http://www.youtube.com/watch?v=4xdqbuGieyg]

Mad Mad riddim medley

The next time I write in this diary Mother will be dead

Of course there is such a thing as female perversion and female crime, but it is rare. Two easy entry-points into this realm are the Papin sisters and closer to the Anglophone world, the Parker-Hulme friends. These cases provide access to the world of the female murderer and the black widow, the relationship between gender and crime and the concept of the folie à deux.

One of the most astonishing facts about the Papin sisters is the defense of their actions by the French intellectuals of their time.

The story:

The Papin sisters brutally murdered their employer and her daughter in Le Mans, France, on February 2, 1933.

The interpretation:

This incident had a significant influence on French intellectuals Genet, Sartre and Lacan, who sought to understand it and it was thought of as symbolic of class struggle.

The Papin Sisters in the Detective weekly periodical, February 9th 1933 by you.

“I’ve seen the photos of these two pretty girls, these servants who killed and battered their mistresses. I’ve seen the photos before and after. ‘Before’, their faces hovered like two docile flowers above their lace collars. They radiated clean living and appetizing honesty. A discreet curling iron had crimped their hair in a similar manner. And, even more reassuring than their waved hair, their collars and their air of being on a visit to the photographer, was their resemblance as sisters, the self-righteous resemblance that immediately brought blood ties and the natural roots of the family group to the fore. ‘After’, their faces glowed like a blaze. They had the bare necks of the future beheaded. Wrinkles everywhere, horrible wrinkles of fear and hatred, folds, holes in the flesh as if a clawed beast had roamed round and round on their faces. And those eyes, those same big, dark and bottomless eyes… And yet, they no longer looked alike. Each, in her own way, bore the memory of their common crime…” –“Le Mur” by Sartre

Motifs_du_crime_paranoiaque by Jacques Lacan by you.

Motives of Paranoiac Crime: The Crime of the Papin Sisters, a paper by Jacques Lacan brought me to French intellectuals on the Papin sisters. Also to Nosubject.com[1], the Lacan wiki.

“Christine and Léa were genuine Siamese souls. Between them, the two sisters couldn’t even find the distance needed to wound each other…

“Christine must have gone through such torture before the desperate experience of crime tore her from her other self and allowed her, after the first hallucinatory fit in which she thought she saw her sister dead, to cry the words of blatant passion: ‘Yes, say yes!’” –Taken from “Motives of Paranoiac Crime: The Crime of the Papin Sisters“–Jacques Lacan

To conclude, from the diary of Pauline Parker:

“The day of the happy event” “I felt very excited last night and sort of night-before-Christmas but I did not have pleasant dreams…I feel very keyed up as though I were planning a surprise party. The happy event is to take place tomorrow afternoon. So the next time I write in this diary Mother will be dead.” –from Pauline Parker’s diary.

“The perversity of woman!”

Danielle Darrieux is Mme de Rênal by Jahsonic

Danielle Darrieux is Mme de Rênal

I’m slowly and carefully moving towards the middle of The Red and the Black and am stricken by quotes on “female perversions” (there is no such thing, or is there?) and instances of “happiness in crime”:

“Their joy was thenceforward of a far higher nature, the flame that devoured them was more intense. They underwent transports of utter madness. Their happiness would have seemed great in the eyes of other people. But they never recaptured the delicious serenity, the unclouded happiness, the spontaneous joy of the first days of their love, when Madame de Renal’s one fear was that of not being loved enough by Julien. Their happiness assumed at times the aspect of crime. ” –Chapter 19 in The Red and the Black

“The perversity of woman!” thought Julien. “What pleasure, what instinct leads them to betray us?” –Chapter 21 in The Red and the Black

Introducing Harry/i Peccinotti

penguin75_frontcover by bsjohnson_info.

Penguin Modern Poets 25 also features a photograph of female lips smoking a cigarette, one of his trademark image tropes.

The Woman of Rome by Moravia by you.

Alberto Moravia‘s 1976 Penguin edition of The Woman of Rome

I haven’t properly introduced Harri Peccinotti, the man celebrated in the previous post on Nova magazine.

Harry Peccinotti (born 1938, London, UK) is a photographer and art director. He was Nova magazine‘s first art director and regular photographer throughout. He also did the Pirelli Calendars of 1968 and 1969, with designer Derek Birdsall.

He also provided the cover photograph for Alberto Moravia‘s 1976 Penguin edition of The Woman of Rome and contributed photographs to The Beatles Illustrated Lyrics.

Penguin Modern Poets 25 also features a photograph of female lips smoking a cigarette, one of his trademark image tropes.

He has designed record sleeves for Esquire Records.

He is still working with fashion stylists such as Charlotte Stockdale and Antje Winter.