He was editor-in-chief of French film magazine Midi Minuit Fantastique (1962 – 1971), the first magazine dedicated to genre cinema and cinema fantastique.
It has come to my attention that the first issue of Midi Minuit Fantastique is online in full at Archive.org.
That issue is dedicated to Terence Fisher, who still seems to be a bit underrated and of whose film The Stranglers of Bombay it is said:
“More clearly than any other Hammer effort, The Stranglers of Bombay lays bare the foundation of voyeurism, scopophilia, misogyny, castration anxiety, repression, sadomasochism, and “the male gaze” which informs the construction of Hammer’s output.”
The Charm of Evil: The Life and Films of Terence Fisher (1991) by Wheeler W. Dixon
One thing leading to another as they say, I stop here, because it is leading me too far.
His magnum opus Lanark (1981) features a skin disease called ‘dragonhide’.
Adjectives applicable to this work are grotesque, fantastique and rabelaisian.
The book has a tendency to depress.
Update: The skin disease ‘dragonhide’ reminds me of Maldoror: “I am filthy. I am riddled with lice. Hogs, when they look at me, vomit. My skin is encrusted with the scabs and scales of leprosy, and covered with yellowish pus.”
“The King hears his own story from the Queen’s mouth. He hears the beginning of the story, which embraces all the others as well as – monstrously – itself. Does the reader really understand the vast possibilities of that interpolation, the curious danger – that the Queen may persist and the Sultan, immobile, will hear forever the truncated story of A Thousand and One Nights, now infinite and circular?”
I have devoted myself to painting a group of pictures in which I have succeeded in making observations for which there is normally no opportunity in commissioned works, which give no scope for fantasy and invention.” (tr. Enriqueta Harris)
Of course, the attentive reader will have noticed that in the photo of ‘Courtship in the edible snail, Helix pomatia’ the soft bodies of the snails look exactly like the labia majora of an adult female human mammal.
The Four Seasons are a series of four paintings by Joos de Momper, allegorically depicting spring, summer, autumn and winter in the form of anthropomorphic landscapes. As of 2013, all four of these paintings are in private collections. At least one of them is believed to be in the collection of Robert Lebel. I saw all four of them over the weekend in Lille, France at the superb exhibition Flemish Landscape Fables. This weekend is your last chance to get a look at them.