Archive for the Comics Category

Kidstuff

Posted in Comics, FILM, Painting, Television with tags , , , , , , on September 1, 2014 by dcairns

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Click to enlarge. And then it all happens.

I was always dimly aware of The Kin-Der Kids, in a collected volume of newspaper cartoons by Lyonel Feininger, lurking on a shelf in Edinburgh College of Art library, but something had kept me from taking it out. Now I realize it was probably the unreadable text — Feininger, like his near-contemporary Winsor McCay, believed in drawing the artwork and speech balloons first, before writing the dialogue, and then would cram whatever he had to say into the available space (McKay sometimes goes the opposite way, finding his balloon to capacious for the plotline, he’ll bung in random cries of “Oh!” until the bubble is snugly used up) — also, the original broadsheet-sized hugeness has been shrunk to half its original scale, meaning that I had to dig out a green magnifying glass I found in the back yard to read it (I can’t think what I did with the nice steel magnifier I bought for M. Natan to use in the documentary “reconstructions” of NATAN).

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Anyway, it’s worth it. The surreal adventures of Daniel Webster (a child with a stovepipe hat and male-pattern baldness), Piemouth, Strenuous Teddy and Little Japansky (a clockwork Japanese boy of unexplained origin) are worth anybody’s time. And not much time is required — the strip was a flopperoo and was cancelled in short order, leaving behind a scant few pages that promised some kind of long-form continuing madness, more eccentric even than Little Nemo and Popeye and the other, later greats. It couldn’t last, but the bold experiment of putting a Bauhaus painter in charge of a piece of mainstream entertainment at least left us with 29 pages of madness (plus another 18 of Wee Willie Winkie’s World.)

A modern-day follower of Feininger’s approach seems to me to be Tony Millionaire, whose Maakies strip, dealing with the adventures of an alcoholic crow and a sock puppet monkey, at sea, have a similar cockamamie picaresque rambunctiousness. There was a TV show which you can watch. It, too, was cancelled. In fact, in its pilot episode, a harpooned sea monster jets blood from its blowhole/s, an image incredibly present in The Kin-Der Kids (children’s entertainment was tougher then). Feininger, apparently sensing that having anthropomorphic animals with their own speech balloons might be problematic when it’s time for them to be killed and eaten, resolves the tonal difficulty by giving his sea creatures crap dialogue, such as, “Who would have thunk it” (no question mark, making it even lamer) and “Drat it all! This is one on me” — the implication being that they are not so much living thinking sentient characters like Daniel Webster and (debatably) Piemouth, as pasteboard caricatures jerked into the simulacrum of life by a quill-wielding kraut.

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To give you some idea of Feininger’s eccentricity, here is his dramatis personae, in which he sees fit to include the Kin-Der family bathtub — which never appears again.

 

Space Punch-Up: The Movie

Posted in Comics, FILM with tags , , , , , , , , , , on August 14, 2014 by dcairns

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This piece has multiple beginnings and no ending, which makes it the opposite of most blockbuster movies.

“The summer had crashed,” is a very good sentence in Patrick Hamilton’s Hangover Square and it came true as a hot July switched to a thundery, rainy, windy, cold August. God, who for a fictional construct can be a total dick, had decided to flip the dial to “November” to keep us on our toes, and Robin Williams killed himself. The guy who played Patch Adams committed suicide. I can’t even think of an analogy for that.

So we went to see GUARDIANS OF THE GALAXY because a movie, even an indifferent one, kind of rapts you out of yourself — a friend who worked on it recommended it. I wasn’t sure I would like it but I figured either I would feel worse, and thus drive a car over my own head, or better. Instead I feel about the same, but the actual movie was OK.

What made me wary of it, apart from it being a mainstream release dated after 1980, was the reports that it has no story and everyone in it is an asshole. In fact, it has as much story as any of these things — a bunch of characters who want different things run around while stuff explodes — that’s the whole history of western literature right there, according to Stan Lee — there is an orb everybody wants, but it might as well have been a cube — and the characters’ obnoxious tendencies are actually explained/redeemed a bit as it goes on. And Groot, the walking tree is a kind of positive guy — source of the only moments of visual poetry, if you can call it that — though he has no drives of his own and seems to exist only to help the others. He’s a dendritic Magic Negro — or Magic Tree-Gro.

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Oh, the other thing that made me wary of it was that the director, James Gunn, made SUPER, which I hated. God. Just remembering it. How anything with the delightful Ellen Page could be so horrible to watch I can’t think. Kind of makes me want to drive a car over my head, just remembering it. And I can’t even drive.

He’s basically redeemed himself — GUARDIANS OF THE GALAXY easily surpasses the low expectations I had. It has Henry Portrait (which is what we have to call actor Michael Rooker) painted blue, with a screw foe a tooth and what looks like a headlight emerging through his scalp. It has a planet called Morag. It has a soundtrack structured around an 80s mixtape of super sounds of the seventies. It has Zoe Saldana (so versatile — first she was blue, now she’s green!) pronouncing the word “doom” as “dume” for no reason. It has a mining colony inside the severed head of a god. It has John C. Reilly. Mainly, it has decided what it thinks of its characters, which is that they’re “not 100% dicks.” And that saves it from being SUPER.

I generally try to see some contemporary relevance in these things — this one seems to be an American fantasy vision of Israel as a sort of Epcot Center world, besieged by vari-hued genocidal barbarians and protecting itself with a sophisticated aerial defense system. Unfortunate timing, then, but nobody seems to mind.

The Monday Intertitle: Moonday Intertitles

Posted in Comics, FILM, literature, Painting with tags , , , , , , , on March 31, 2014 by dcairns

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Thanks to Gregory Robinson for a review copy of his book All Movies Love the Moon, Prose Poems on Silent Film.

Said poems are inspired by intertitles, which we like here at Shadowplay. It’s a very handsome book, though as a purist I prefer the authentic intertitles to the recreations — but I guess there’s a copyright issue there, and also a certain pleasure in being able create new versions of old title cards. As for Gregory’s additional words, they are very poetic indeed ~

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HOW IT FEELS TO BE RUN OVER (1900)

It begins with an accident, the inevitable result of both ten thousand objects both real and imaginary cosmically tumbling, colliding at the nexus where silver meets secondhand meets skin. The burst of light is the birth of movies.

Before you, a dirt road. A carriage passes, then a cyclist, both stirring a cloud of dust that settles on an automobile. The car is far angrier, making mad S shapes in the road, darting forward like a shark. Logic says move, but you have grown too heavy in this dream and the car is impossibly close. It breaks out of its world into yours, a pharaoh crossing over, a moth errant unto light, and Oh! Mother will be pleased.

A pause. Here is death, an old woman whispers over popcorn. I knew it would happen like this. In movies mortality makes your acquaintance, inscripting your bones.

The one on CITY LIGHTS at the end is particularly fine.

Another plug, while I’m here. Friend of Shadowplay Paul Clipson is not just (just?) an experimental filmmaker, he’s a projectionist, and his limited-edition book of projectionist’s drawings, REEL, shows a creative solution to a practical problem: identifying approaching reel changes.

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You can buy it here, if there are any left.

 

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