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This month's blogs: 2005 April (7) | 2005 April (6) | 2005 April (5) | 2005 April (4) | 2005 April (3) | 2005 April (2) | 2005 April (1)

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"Method of this work:
literary montage.
I have nothing to say only to show."
(Passagenwerk (1927 - 1940) - Walter Benjamin)

2005, Apr 26; 23:28 ::: Corinne Clery

Corinne Clery, photo unidentified

Corinne Clery at the time of Story of O (1975)

Corinne Clery (born Corinna Piccolo, March 23, 1950 in Paris, France) is a French actress.

She started her career in the late sixties under the name Corinne Piccoli.

She first came to prominence in the controversial film Story of O (1975) (Histoire d'O) and is famous for being the Bond girl Corinne Dufour in the James Bond film Moonraker (1979). She also starred opposite other Bond alumni Barbara Bach and Richard Kiel in The Humanoid.

Most of the her movies, after Moonraker, were made in Italy. --http://en.wikipedia.org/wiki/Corinne_Clery [Apr 2005]

2005, Apr 26; 23:28 ::: Office Baroque (1977) - Gordon Matta Clark

Office Baroque (1977) - Gordon Matta Clark
view from the top of the building overlooking the Schelde

Office Baroque (1977) - Gordon Matta Clark
interior view of the building

Gordon Matta-Clarke is an American artist who created site-specific pieces in the 1970s. He was trained in architecture but did not practise as a conventional architect. Instead he created works by radically altering existing structures (cutting a house in half vertically) to alter the perception of the building and its surrounding environment. --http://en.wikipedia.org/wiki/Gordon_Matta-Clark [Apr 2005]

In 1977, Gordon Matta-Clark (1943-78) was invited by Flor Bex to exhibit in the I.C.C. He was given the opportunity to work on empty premises on the Ernest Van Dijckkaai, near the Steen. In honour of the four hundredth birthday of the Antwerp Baroque painter Rubens, the artist called this work ‘Office Baroque’. --text sourced here.

2005, Apr 26; 23:01 ::: Boreas Abducting Orithyia (1615) - Rubens

Boreas Abducting Orithyia (1615) - Rubens

2005, Apr 26; 17:29 ::: Chateau d'O

Chateau d'O, Normandy, France
photo sourced here.

For the reader with a taste for the erotic Story of O promises a veritable homecoming and if your dreams and fantasies roam the corridors of the novel's chateau thereafter, you will appreciate how intrigued I was whilst driving through France a few years ago, by the prospect of a 'Chateau d'O'. Following road signs I left the main road to travel a short distance along a leafy country road to where I found the Chateau d'O enclosed beyond heavy iron and padlocked gates, a fairy tale castle set jewel-like amongst tall trees, gardens straight out of Last Year at Marienbad, and total quiet and privacy. The inspiration surely, for any Story of O but apparently named simply after a neighboring river! --http://www.storyofo.co.uk/corridors.html [Apr 2005]

Voici les deux commencements d’Histoire d’O :

-"Son amant emmène un jour O se promener dans un quartier où ils ne vont jamais, le parc Montsouris, le parc Montseau. À l’angle du parc, au coin d’une rue où il n’y a jamais de station de taxis, après qu’ils se sont promenés dans le parc, et assis côte à côte au bord d’une pelouse, ils aperçoivent une voiture avec un compteur qui ressemble à un taxi. "Monte", dit-il. Elle monte."

- "(...) Une autre version du même début état plus brutale et plus simple :

"la jeune femme pareillement vêtue était emmenée en voiture par son amant, et un ami inconnu. L’inconnu était au volant, l’amant assis à côté de la jeune femme, et c’était l’ami, l’inconnu, qui parlait pour expliquer à la jeune femme que son amant était chargé de la préparer, qu’il allait lui lier les mains dans le dos, par-dessus ses gants, lui défaire et lui rouler ses bas, lui enlever sa ceinture, son slip et son soutien-gorge, et lui bander les yeux. Qu’ensuite elle serait remise au château, où on l’instruirait à mesure de ce qu’elle aurait à faire."

First Sentence:

...it was the unknown friend who explained to the young woman that her lover had been entrusted with the task of getting her ready, that he was going to tie her hands behind her back, unfasten her stockings and roll them, remove her garter belt, her panties, and her brassiere, and blindfold her. --from the Doris Kloster illustrated version of Story of O
Excerpt from the first chapter of Story of O

Part I: The Lovers of Roissy

Her lover one day takes O for a walk in a section of the city where they never go - the Montsouris Park. After they have taken a stroll in the park, and have sat together side by side on the edge of a lawn, they notice, at one corner of the park, at an intersection where there are never any taxis, a car which, because of its meter, resembles a taxi.

"Get in," he says.

She gets in. It is autumn, and coming up to dusk. She is dressed as she always is: high heels, a suit with a pleated skirt, a silk blouse, and no hat. But long gloves which come up over the sleeves of her jacket, and in her leather handbag she has her identification papers, her compact, and her lipstick.

The taxi moves off slowly, the man still not having said a word to the driver. But he pulls down the shades of the windows on both sides of the car, and the shade on the back window. She has taken off her gloves, thinking he wants to kiss her or that he wants her to caress him. But instead he says:

"Your bag's in your way; let me have it."

She gives it to him. He puts it out of her reach and adds:

"You also have on too many clothes. Unfasten your stockings and roll them down to above your knees. Here are some garters."

By now the taxi has picked up speed, and she has some trouble managing it; she's also afraid the driver may turn around. Finally, though, the stockings are rolled down, and she's embarrassed to feel her legs naked and free beneath her silk slip. Besides, the loose garter-belt suspenders are slipping back and forth.

"Unfasten your garter belt," he says, "and take off your panties."

That's easy enough, all she has to do is slip her hands behind her back and raise herself slightly. He takes the garter belt and panties from her, opens her bag and puts them in, then says:

"You shouldn't sit on your slip and skirt. Pull them up behind you and sit directly on the seat."

The seat is made of some sort of imitation leather, which is slippery and cold: it's quite an extraordinary sensation to feel it sticking to your thighs. Then he says:

"Now put your gloves back on."

The taxi is still moving along at a good clip, and she doesn't dare ask why René just sits there without moving or saying another word, nor can she guess what all this means to him - having her there motionless, silent, so stripped and exposed, so thoroughly gloved, in a black car going God knows where. He hasn't told her what to do or what not to do, but she's afraid either to cross her legs or press them together. She sits with gloved hands braced on either side of her seat.

"Here we are," he says suddenly. Here we are: the taxi stops on a lovely avenue, beneath a tree - they are plane trees - in front of some sort of small private home which can be seen nestled between the courtyard and the garden, the type of small private dwelling one finds along the Faubourg Saint-Germain. The street lamps are some distance away, and it is still fairly dark inside the car. Outside it is raining.

"Don't move," René says. "Sit perfectly still."

His hand reaches for the collar of her blouse, unties the bow, then unbuttons the blouse. She leans forward slightly, thinking he wants to fondle her breasts. No. He is merely groping for the shoulder straps of her brassiere, which he snips with a small penknife. Then he takes it off. Now, beneath her blouse, which he has buttoned back up, her breasts are naked and free, as is the rest of her body, from waist to knee.

"Listen," he says. "Now you're ready. This is where I leave you. You're to get out and go ring the doorbell. Follow whoever opens the door for you, and do whatever you're told. If you hesitate about going in, they'll come and take you in. If you don't obey immediately, they'll force you to. Your bag? No, you have no further need for your bag. You're merely the girl I'm furnishing. Yes, of course I'll be there. Now run along."

--from the first chapter of Story of O (1954) , Pauline Réage via http://www.geocities.com/free_library/story-o1.html [Apr 2005]

2005, Apr 26; 14:10 Kurtis Blow (1980) - Kurtis Blow

Kurtis Blow (1980) - Kurtis Blow [Amazon.com] [FR] [DE] [UK]

Kurtis Blow, (born Curtis Walker on August 9, 1959), is one of the most influential early rappers and hip hop's first mainstream star. "The Breaks" (1979) is one of hip hop's undisputed classics (basically a catchy disco tune with rapping) and Nas made a new version of Blow's "If I Ruled The World". He was influenced by DJ Hollywood. Bob Dylan appeared on Kurtis Blow's 1986 album "Kingdom Blow".

Blow began his career in New York in the mid-1970s, when he was a breakdancer until switching to DJing and then rapping. He was the first rapper to record a full lengh album on a major label (1980). This occurred after recording "Christmas Rappin", his first single; during this time, "Rappers Delight" by the Sugarhill Gang became the first hit for hip hop. The whole field was derided as a fad, though, and thus there was much resistance to signing Kurtis Blow. --http://en.wikipedia.org/wiki/Kurtis_Blow [Apr 2005]

2005, Apr 26; 13:36 ::: Remain in Light (1980) - Talking Heads

Remain in Light (1980)- Talking Heads [Amazon.com] [FR] [DE] [UK]

Seldom in pop music history has there been a larger gap between what black and white audiences are listening to than there is right now. While blacks are almost entirely uninterested in the clipped, rigid urgency of the New Wave, it's doubtful that more than a small percentage of ROLLING STONE's predominantly white readership knows anything at all about the summer's only piece of culture-defining music, Kurtis Blow's huge hit, "The Breaks." Such a situation is both sad and ironic, because rarely have the radical edges of black and white music come closer to overlapping. On one hand, the Gang of Four utilize their bass guitar every bit as prominently and starkly as the curt bass figures that prod the spoken verses of "The Breaks." On the other, Chic producers Nile Rodgers and Bernard Edwards choose to make Diana Ross sound as sullen and alienated as Deborah Harry. None of this has escaped the notice of Talking Heads, however, and Remain in Light is their brave, absorbing attempt to locate a common ground in today's divergent, often hostile musical community. -- Ken Tucker, for Rolling Stone, 12/11/80

Remain in Light is an album by Talking Heads, released on October 8, 1980 . Featuring funky African rhythms, the album became an influential post punk, world music and New Wave recording. Remain in Light uniquely blended African-American, continental African and white American musical forms; Rolling Stone magazine's Ken Tucker noted at the time that there had rarely been "a larger gap between what black and white audiences were listening to". Living Colour's Vernon Reid describes its African polyrhythms: "Instead of alienation turning into dark angst it turns into celebration, the dance".

The music was produced on a multitrack tape machine with variable tape speed. The varispeed feature was indeed used by producer Brian Eno and the players. When David Byrne recorded the vocals to the already recorded rhythm tracks, he sped up the machine considerably. This speed-up was maintained when the mix was transferred to vinyl, and is the source of the nervous feeling. If one plays back the LP at a speed lowered by approximately 20%, the music becomes more expressive and danceable, and the lyrics become understandable, but the sound of the vocals and some instruments become slightly un-natural.

The single "Once in a Lifetime" sold poorly upon its original release but a quirky music video and its presence on the soundtrack to Down and Out in Beverly Hills helped make it a charting single and minor hit in 1986.

The album cover and liner notes were created by the notable graphic designer, Tibor Kalman. --http://en.wikipedia.org/wiki/Remain_in_Light [Apr 2005]

2005, Apr 26; 12:24 ::: Hugo Ball, 1916, performing Karawane

Hugo Ball, 1916, performing Karawane

Hugo Ball (February 22, 1886 - September 14, 1927) was a German author and poet.

Hugo Ball was born in Pirmasens, Germany. He was one of the leading artists in the Dadaism movement, or Dada. Some of his best known works are the poem "Karawane," a collection of poems 7 schizophrene Sonette, the drama Die Nase des Michelangelo, a memoir of the Zürich period Flight Out of Time: A Dada Diary, and a biography of Hermann Hesse.

As co-founder of the Cabaret Voltaire in Zürich he led the Dada Zürich movement and coined the word "Dada", which he allegedly took from a dictionary. He was married to Emmy Hennings, another member of Dada Zürich.

He died in Sant’Abbondio, Switzerland.

His poem "Gadji beri bimba" was later adapted to song on the Talking Heads album "Fear of Music" as "I Zimbra". --http://en.wikipedia.org/wiki/Hugo_Ball [Apr 2005]

see also: cabaret - dada - 1916

2005, Apr 26; 09:14 ::: (1963) - Federico Fellini

(1963) - Federico Fellini

is a 1963 film by Italian director Federico Fellini. It is critically accepted as one of the finest films ever made.

The plot revolves around a director, Guido Anselmi - played by Marcello Mastroianni, who amidst marital difficulties attempts to find inspiration for a new science fiction film. The film often delves into Guido's memories and fantasies. It displays several elements of autobiography. La Bella Confusione (The Beautiful Confusion) was the working title of .

is much admired for its sensitivity to the problems of the creative process, both technical and personal, and problems artists face when expected to deliver something personal and profound, with a large public watching, on a very set schedule — while all the while having to live their own lives, and deal with their own personal relationships. It is in a larger sense about finding true personal happiness in a difficult, fragmented life.

The film won the Academy Award for Best Foreign Language Film, and Fellini was nominated for Best Director. is a fixture on the prestigious Sight & Sound critics and directors poll of the top ten films ever made.

The film is 138 minutes in length and filmed in stark black and white.

The musical Nine is based on . --http://en.wikipedia.org/wiki/8%BD [Apr 2005]

possible influence on Mulholland Drive (2001)
There are also some slight similarities with two other films about filmmaking: Federico Fellini's and Jean-Luc Godard's Le Mepris. With the former, it shares a dream-like structure to show the processes of filmmaking and particularly commercial filmmaking. With the latter, it also has an unusual structure but also looking at sexuality in film, the power of producers or the similarities between Hollywood producers and mobsters and the parallels between a contempt with the industry and a contempt within a couple. Adam Kesher also shares some resemblance with Jean-Luc Godard. --http://en.wikipedia.org/wiki/Mulholland_Drive_%28movie%29 [Apr 2005]

2005, Apr 25; 08:59 ::: Anita Ekberg

Marcello Mastroianni and Anita Ekerg in the Trevi fountain, Rome, 1960

Marcello Mastroianni and Anita Ekerg in the Trevi fountain, Rome, 1960

La Dolce Vita (1960) is a film directed by Federico Fellini. One of the works that defined the characteristic Fellini style, it is a vast panel of long, loosely connected scenes that paint a portrait of the high and low life of Rome in the late fifties and early sixties, as seen through the eyes of its main character, a jaded society reporter, Marcello (played by Marcello Mastroianni), in his dealings with his simple, jealous lover (Yvonne Furneaux), a sophisticated woman (Anouk Aimée) with whom he has an episodic relationship, a beautiful bombshell (Anita Ekberg) whom he follows in her wanderings through Rome (including the notable scene of her night bath in the Fontana di Trevi), and a multitude of other characters of all walks of life. Fellini observes all these people with evident affection, but passes no moral judgment on their actions. --http://en.wikipedia.org/wiki/La_dolce_vita [Apr 2005]

2005, Apr 26; 01:14 ::: 20th Century music

The 20th century was also an age where recording and broadcast changed the music. An individual in the 19th century made most music themselves, or attended performances. An individual in the industrialized world had access to radio, television, phonograph and later digital music such as the CD. --http://en.wikipedia.org/wiki/20th_century_classical_music [Apr 2005]

2005, Apr 25; 00:09 ::: The Icicle Thief (1990) - Maurizio Nichetti

The Icicle Thief (1990) - Maurizio Nichetti [Amazon.com] [FR] [DE] [UK]

The Icicle Thief is a 1990 film by Italian director Maurizio Nichetti, created as a spoof of the neo-realism that predominated Italian cinema after World War II.

The film tells the story of a director who is drawn into his television set while watching one of his films. Like the television version, the action is cut at 11-minute intervals by commercials. Gradually, the cast begins incorporating the commercials into their own lines, entirely changing the original concept of the film.

The film was named after the classic Italian neo-realist epic, The Bicycle Thief, by Vittorio De Sica. --http://en.wikipedia.org/wiki/The_Icicle_Thief [Apr 2005]

2005, Apr 25; 23:04 ::: Taming of the Shrew (1594) - William Shakespeare

Elizabeth Taylor as Catharina in
Taming of the Shrew (1594) - William Shakespeare

Analysis of the etymology of shrew

A woman with a violent, scolding, or nagging temperament; a scold. --AHD

[Middle English shrewe, villian, from Old English scr?awa, shrewmouse.] --AHD

A person, traditionally a woman, who persistently nags or criticizes: fishwife, fury, harpy, scold, termagant, virago, vixen. Informal battle-ax. See praise/blame. --Roget's thesaurus

Analysis of Taming of the Shrew (1594) - William Shakespeare
The Taming of the Shrew is a comedy by William Shakespeare. It was one of his earlier plays, probably penned in 1594.

There are many interpretations of The Taming of the Shrew. Viewed from a modern feminist perspective, the play seems at first to be undeniably misogynistic, and the ending in particular offends. However, modern critics respond that Petruchio suffers as much as Kate in order to tame her - he does not eat in order to starve her, he acts like a fool in order to make her seem foolish too, and he stays up all night in order to keep her from sleeping. Kate's hysterical violence seems to require Petruchio's severe methods in order to render her a fit member of society. Many point to this as an indication that the play is not as male-oriented as it at first seems.--http://en.wikipedia.org/wiki/The_Taming_of_the_Shrew#Analysis [Apr 2005]

in the cinema
Despite the pervasive misgivings about this play, it has seen prolific production in the twentieth century, spawning numerous film and television versions since its silent picture debut in Biograph's brief 1908 Shrew, directed by famed filmmaker D.W. Griffith. At least eighteen screen versions of The Taming of the Shrew have been made in North America and Europe. In her fine article "Katherina Bound," scholar Hodgdon examines several twentieth century productions of Shrew on stage and on celluloid and concludes that "Shrew continues to enfold women within representation to make and remake cultural myths with which to negotiate her use" and that these representations "perfectly exhibit how the containing illusions of popular patriarchies are engendered and sustained." In other words, all Shrews are inevitably (and always already) works of ideological containment. --http://www.americanpopularculture.com/archive/film/ten_things_i_hate.htm [Apr 2005]

see also: William Shakespeare

2005, Apr 25; 18:45 ::: List of most expensive paintings

This is a list of the highest prices paid for paintings. Very valuable paintings, if sold, are usually sold at auction.

Most of the world's most famous paintings are owned by museums, who very rarely sell them once acquired. As such, they are quite literally priceless; if for some reason paintings like the Mona Lisa were to become available, it is highly likely that they would sell for far higher values than the paintings listed below. The Guinness Book of Records lists the Mona Lisa as the highest insurance valuance for a painting in history. It was assessed at US$100 million on December 14, 1962, prior to the painting touring the U.S. for several months. [1] (http://www.guinnessworldrecords.com/gwr5/content_pages/record.asp?recordid=50934) Taking into account the time value of money, this would be approximately equivalent to US$626,821,192.00 in 2004. The Louvre chose to instead spend the money on security.

List of highest prices paid at auction

1. Garçon à la pipe by Pablo Picasso * Sold for $104.1 million on May 4, 2004 at Sotheby's, New York (time value: $106,910,700.00)

2. Portrait of Dr. Gachet by Vincent van Gogh * Sold for $82.5 million on May 15, 1990 at Christie's, New York (time value: $116,793,226.33) †

3. Bal au moulin de la Galette, Montmartre by Pierre-Auguste Renoir * Sold for $78 million on May 17, 1990 at Sotheby's, New York (time value: $110,422,686.71) †

4. Irises by Vincent Van Gogh * Sold for $49 million on November 11, 1987 at Sotheby's, New York (time value: $78,402,796.71).

5. Massacre of the Innocents by Peter Paul Rubens * Sold for £49.5 million ($76.7 million) on July 10, 2002 at Sotheby's, London (time value: $77,927,200.00)

6. Les Noces de Pierrette by Pablo Picasso * Sold for $49 million on November 30, 1989 (time value: $72,697,766.77)

7. Portrait de l'artiste sans barbe by Vincent Van Gogh * Sold for $65 million on November 19, 1998 at Christie's, New York (time value: $71,691,040.02).

8. Rideau, Cruchon et Compotier by Paul Cézanne * Sold for $60.5 million on May 10, 1999 at Sotheby's, New York (later resold at a loss)

9. Femme aux Bras Croisés by Pablo Picasso * Sold for $50 million on November 8, 2000 at Christie's, New York (time value: $52,851,507.20). --http://en.wikipedia.org/wiki/List_of_most_expensive_paintings [Apr 2005]

see also: expensive

2005, Apr 25; 18:30 ::: List of artists (by date of birth)

Garden of Earthly Delights (detail) - Bosch

Hieronymus Bosch - Quentin Massys - Albrecht Dürer - Lucas Cranach - Brueghel - Arcimboldo - Peter Paul Rubens - François Boucher - Jacques Fabian Gautier d'Agoty - Henry Fuseli - Francisco de Goya - Hokusai - Jean Auguste Dominique Ingres - Gustave Courbet - Arnold Böcklin - Edouard Manet - Félicien Rops - William Morris - Antoni Gaudí - Gustav Klimt - Rupert Carabin - Edvard Munch - Paul Chabas - Aubrey Beardsley - Francis Picabia - Pablo Picasso - Fernand Léger - Max Beckman - Raoul Hausmann - Marcel Duchamp - Le Corbusier - Clovis Trouille - Egon Schiele - Man Ray - Otto Dix - Max Ernst - George Grosz - René Magritte - Pierre Molinier - Hans Bellmer - John Willie - Salvador Dalí - Cecil Beaton - Carlo Mollino - Unica Zürn - Balthus - Jackson Pollock - Piero Fornasetti - Ettore Sottsass - Helmut Newton - Georges Pichard - Marcel Mariën - Joseph Beuys - Richard Hamilton - Marcel Broodthaers - Otto Mühl - Eric Stanton - Yves Klein - Andy Warhol - Guy Bourdin - Luigi Colani - William Klein - Frank Gehry - Joe Colombo - Guido Crepax - Paula Rego - Piero Manzoni - Jan Hoet - Allen Jones - Hermann Nitsch - Jean Giraud - Roland Topor - Robert Smithson - Gaetano Pesce - Joel Peter Witkin - Richard Bernstein - Panamarenko - Nobuyoshi Araki - H.R. Giger - Vito Acconci - Dan Graham - Fred Bervoets - Robert Crumb - Luc Deleu - Milo Manara - Eric Kroll - Jacques Tardi - Marina Abramoviæ - Marina Abramoviæ - Guillaume Bijl - Laurie Anderson - Hajime Sorayama - Jamie Reid - Eric Fischl - Andres Serrano - Jenny Holzer - Tanino Liberatore - Romain Slocombe - Mike Kelley - Richard Kern - Cindy Sherman - Jeff Koons - Gilles Berquet - Keith Haring - Mirka Lugosi - Luc Tuymans - Jan Fabre - Danny Devos - Jean Michel Basquiat - Tracey Emin - Wim Delvoye - Damien Hirst - John Currin - Matthew Barney - Chris Ofili - David LaChapelle - Vanessa Beecroft

2005, Apr 25; 13:21 ::: Valentina

Valentina, copyright © guido crepax
image sourced here.

[Amazon.com] [FR] [DE] [UK]

Originally a minor character working for the comic hero Neutron, comic strip creator Guido Crepax gave Valentina Rosseli her own story in 1967. Valentina, whose appearance is inspired by silent film actress Louise Brooks, is a photojournalist. Her boss, Philp Rembrandt aka Neutron, has the ability to paralyze people or machines he has seen in the flesh or pictures. --http://en.wikipedia.org/wiki/Valentina_%28comic_book%29 [Apr 2005]

see also: Guido Crepax - Valentina - 1967

2005, Apr 25; 13:21 ::: Zombi 2 (1979) - Lucio Fulci

Zombi 2 (1979) - Lucio Fulci [Amazon.com] [FR] [DE] [UK]

Zombi II
The most well-known of Lucio Fulci's films, Zombi II sparked an obsession with zombie films across Europe and made Fulci a horror icon. Upon its release in 1979, Zombi II was ridiculed for having no connection to the original Zombi and was scorned for its extremely bloody content, yet the film was a tremendous success.

Zombi II is a pseudo-sequel to George A. Romero's Dawn of the Dead. Dawn was re-edited and re-scored for European markets by Romero's collaborator, Italian horror master Dario Argento. Argento released his new version of Dawn of the Dead as Zombi and treated it as a standalone story, not a contination of Romero's Night of the Living Dead. --http://en.wikipedia.org/wiki/Zombi_II [Apr 2005]

see also: Lucio Fulci

2005, Apr 25; 12:53 ::: Thriller - A Cruel Picture (1974) - Bo Arne Vibenius

Thriller - A Cruel Picture (1974) - Bo Arne Vibenius [Amazon.com] [FR] [DE] [UK]

see also: Bo Arne Vibenius

2005, Apr 25; 12:14 ::: Satanik and Kriminal

image sourced here.

image sourced here.

see also: comics

2005, Apr 25; 12:04 ::: Les auteurs de la Série noire, 1945-1995 (1996) - Claude Mesplède

Les auteurs de la Série noire, 1945-1995 (1996) - Claude Mesplède [Amazon.com] [FR] [DE] [UK]

see also: noir - crime fiction

2005, Apr 25; 11:45 ::: Lianna (1983) - John Sayles

Lianna (1983) - John Sayles [Amazon.com] [FR] [DE] [UK]

Lianna, a sympathetic story in which a married woman becomes discontented with her marriage after falling in love with another woman

see also: John Sayles - lesbian

2005, Apr 25; 11:01 ::: Essy Persson (1941 - )

Essy Persson (1941 - ), photocredit unknown

Essy Persson (1941 - ), photocredit unknown

Essy Persson (1941 - ), photocredit unknown

Jag - en kvinna/I, A Woman (1965) - Mac Ahlberg

Therese (Essy Persson) and Isabelle (Anna Gael) in
Therese und Isabell (1968) - Radley Metzger [Amazon.com]
(© 1998 First Run Features. All rights reserved.)
image sourced here.

see also: Radley Metzger - Sweden - Mac Alberg

2005, Apr 24; 22:04 ::: Case of the Bloody Iris (1972) - Giuliano Carnimeo

Perché quelle strane gocce di sangue sul corpo di Jennifer? /Case of the Bloody Iris (1972) - Giuliano Carnimeo [Amazon.com]

see also: Edwige Fenech - Italian horror

2005, Apr 24; 20:29 ::: Castle of Blood/La Danza Macabra (1964) - Antonio Margheriti

Danza Macabre (1964) - Antonio Margheriti as Anthony Dawson
image sourced here.

Castle of Blood/La Danza Macabra (1964) - Antonio Margheriti [Amazon.com]

When American author Edgar Allan Poe visits London, he is approached by British journalist Alan Foster, who becomes the target of a peculiar wager. Not believing Poe's assertion that all of his macabre stories have been based on actual experience, Foster accepts a bet from Poe and his friend Sir Thomas Blackwood that he cannot spend an entire night in the Blackwood's haunted castle. Once installed in the abandoned castle, Foster discovers that he is not alone, as he is approached by various beautiful women and handsome men, and a doctor of metaphysics -- who explains that they are all lost souls damned to replay the stories of their demises on the anniversary of their deaths! --description via amazon.com [May 2004]

see also: 1964 - Italian horror

2005, Apr 24; 20:27 ::: I Tre volti della paura/Black Sabbath (1963) - Mario Bava, Salvatore Billitteri

I Tre volti della paura/Black Sabbath (1963) - Mario Bava, Salvatore Billitteri [Amazon.com]

I Tre volti della paura or Black Sabbath (1963) is a Italian gothic horror movie directed by Mario Bava. Boris Karloff has a role in it.

A trilogy of three horror stories. "The Drop of Water" concerns a nurse who steals a ring off a dead spiritualist, only to have the corpse seek revenge. "The Telephone" features a prostitute who is terrorized by phone calls from a dead client. "The Wurdalak" stars Boris Karloff as a vampire who feeds on the blood of his loved ones. Link to "Tre volti della paura" on (IMDB.com )

In 1969, a heavy blues-rock band named Earth decided to change their name and agreed that the title of this movie would be a nice fit for their burgeoning "heavy metal" sound. --http://en.wikipedia.org/wiki/Black_Sabbath_(movie) [Apr 2005]

see also: 1963 - Italian horror - Mario Bava

2005, Apr 24; 20:54 ::: Elle

Elle cover
image sourced here.

2005, Apr 24; 20:29 ::: Franca Licastro

Franca Licastro
image sourced here.

2005, Apr 24; 20:29 ::: King magazine

Rivista per soli uomini degli anni 60 e 70.
image sourced here.

2005, Apr 24; 19:51 ::: Lisa Gastoni

Le comte porno et ses filles (1970) - Gunter Hendel
image sourced here.

2005, Apr 24; 19:51 ::: Lisa Gastoni

Lisa Gastoni in Scandalo (1976) - Salvatore Samperi
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2005, Apr 24; 19:31 ::: Attrici

Attrici Amy Morrow Asia Argento Alesha Oreskovich Alexandra Pascalido Ali Arter Alice Deejay Alicia Rickter Amber Brkick Amber Smith Ambra pornostar Ana Beatriz Barros Angel Lynn Boris Angela Basset Angela Giovanni Angelie Almendare Ann Collins Anna Bergman Anna Bruno Anna Gael Anna Kournikova Anna Pettinelli Anna Wennerholm Annie Belle Ariel Besse Asa Vilback Barbara Luna Barbara Shelley Beatrice Cori Becky Delosantos Berry Brook Beryl Cunningham Beyonce Knowles Bridget Maasland Candy Dreams Carole Pierac Caroline Munro Caroline Munro Carrie-Ann Moss Catherine Handerborg Catherine Madigan Cathy Menard Cathy Ringer Chai lee Charlotte Rampling Charlotte Ross Chiara Muti Chisa Aizawa Chloe Sevigny Christina Leardini Christine Chavert Claudia Barry Claudia Lange Claudia Von Stadt Claudine Beccarie Corinne Clery Crippy Yocard Cristina Quaranta Dalila Di Lazzaro Daniela Rinaldi Daryl Hannah Debbie Harry Diana Dors Diane Heidkruger Diane Lane Dina Meyer Doris Orlando Dorothy Stratten Edwige Fenech Eileen Seeley Elaine Reynolds Eleonore Bose Elizabeth Sanders Elle Mac Pherson Emanuela Folliero Emily Watson Eva Kleber Fay Georgakopoulou Florinda Franca Licastro Francesca D'Auria Francesca Gollini Francoise Prevost Gaia Zucchi Galina Orlowa Giovanna Ronchesi Gisele Bundchen Haydee Politoff Hazel Court Hazel O'Connor Helen Slater Inga Irene Dudzinska Isabella Biagini Ivana Giordan Iza Vit Jenny Hanley Jenny Tamburi Jessica Steen Jillian McWhirter Jo Chiarello Joan Chen Joanne Jodie Foster John Swannell Jole Rosa Julie Edge Juliette Lewis Kate O'mara Kate Simmons Kathleen Quinlan Kelly Preston Kitty Swan Lara Flynn Boyle Laura Antonelli Laura Belli Laura Gemser Laura Gualtieri Laura Luca Le gemelle Bentley Leelee Sobieski Leigh Sands Lia Chi Liliana Forcadori Linda Carter Linda Evans Linda Hayden Linda Lusardi Lisa Gastoni Lisa Kudrow Livia Romano Liz Barret Loredana Bertè Lorena Forteza Lorenza Guerrieri Madeleine Smith Madonna Manuela Arcuri Marcela Walerstein Margaret Rose Keil Margherita Giacomelli Mariadivera Dol Marina Coltellessa Marina Perzy Marina Sassi Marisa Patulli Martine Beswick Marylin Tindahm May Line Mia Njgren Michelle Pfeiffer Milena Cantu Mirella Mereu Monica Bellucci Monica Strebel Monique Gabrielle Muriel Blain Nadia Biondini Nancy Brilly Nastassia Kinski Natalia Semanova Natalie Uhrer Natascha Kinski Nicole Kidman Nikky Anderson Olinka Berova Patricia Heaton Piera degli Espositi Rachel Welch Raffaella Azim Reese Witherspoone Rossella Or Salma Hayek Samantha Fox Samantha Mathis Sandra Bullock Sarah Michelle Gellar Selen Sharon Walton Sigourney Weaver Silvia Kristel Silvia Rocca Stefania Orlando Stephanie Beacham Stephanie Powers Summer Altice Susan Denberg Susanna Barret Susanna Pericoli Sylva Koscina Tamara Baroni Tamara Donà Tea Leoni Teresa May Tiffany Taylor Tishara Cousino Tracy Dixon Tracy Reiner Uma Thurman Ursula Andress Valentine Demy Valerie Leon Vanessa Gleason Vanessa Redgrave Vera Matisc Veronica Carlson Veronica Zemanova Victoria Vetri Violetta Kolek Vivian Hsu Yumi Lee Yutte Stensgaard Yvonne Dabbraccio Yvonne Romain --http://www.eracle.it/attrici/le_attrici_di_eracle.asp

2005, Apr 24; 18:21 ::: Gustave Doré

Purgatorio - Alberto Scaligero
Illustrazione di Gustave Doré
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2005, Apr 24; 18:21 ::: Euro film

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2005, Apr 24; 18:21 ::: Euro film

Emmanuelle (1974) - Just Jaeckin [Amazon.com] [FR] [DE] [UK]

Emmanuelle 2 (1975) - Francis Giacobetti, Francis Leroi [FR] [DE] [UK]

Emmanuelle 4 (1984) - Francis Leroi, Iris Letans [FR] [DE] [UK]

See also: softcore - Emmannuelle - FrancisLeroi - erotic film

2005, Apr 24; 18:03 ::: Euro art

Liens de femmes (2001) - Leone Frollo, Paolo Eleuteri Serpieri [FR] [DE] [UK]

Pinocchia (1995) - Gibrat, Francis Leroi [FR] [DE] [UK]

see also: Francis Leroi

Parcours à travers l'œuvre de Clovis Trouille, 1889-1975 - Clovis Prévost [FR] [DE] [UK]

2005, Apr 24; 17:46 ::: Zone, Eclatant

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2005, Apr 24; 17:02 ::: Literary usage of a trope

In literature, a trope is a familiar and repeated symbol, style, character or thing that permeates a particular type of literature. They are usually tied heavily to genre. For example, tropes in horror literature and film include the mad scientist or a dark and stormy night. Tropes can also be plots or events, such as the science fiction trope of an alien invasion that is deterred at the last minute.

Authors that rely on tropes are often seen as unimaginative and dull. However, many authors have twisted tropes into new forms to great success. Stephen King has been noteworthy for taking older horror tropes and reworking them into the modern world to great effect. --http://en.wikipedia.org/wiki/Trope#Literary_usage [Apr 2005]

see also: stock - character - trope - genre - cliché - stereotype

2005, Apr 24; 16:23 ::: Bad girl movies

Cleo Moore in
Women's Prison (1955) - Lewis Seiler
image sourced here.

"Bad girl movies" are a subcategory of film noir labeled by latter-day movie buffs to describe the dark films of the 1940s and 1950s starring beautiful women who were usually on the wrong side of the law. The movie posters to these films usually featured sexy artwork of the lady in question, posed seductively, and these images today in original posters and reproductions are as collected today, as are the films themselves are on VHS and DVD.

Among the classic "bad girl" performances are Barbara Stanwyck in Double Indemnity (1944), Gene Tierney in Leave Her to Heaven (1945), Lana Turner in The Postman Always Rings Twice (1946), Ann Savage in Detour (1946), Jane Greer in Out of the Past (1948), Joan Bennett in Scarlet Street (1948), Rita Hayworth in The Lady From Shanghai (1948), Marilyn Monroe in Niagra, Cleo Moore in One Girl's Confession (1953), and Jane Russell in The Revolt of Mamie Stover (1956). Stanwyck, Savage, Bennett, and Moore made multiple films that fall into the "bad girl movie" category as did Ava Gardner, Gloria Grahame, Dorothy Malone, Beverly Michaels, Lizabeth Scott, Audrey Totter, Claire Trevor, Mamie Van Doren, Marie Windsor, and Shelley Winters.

Perhaps the ultimate bad girl movies are women's prison movies with the women in question behind bars; the majority of these films were made well after the classical film noir period and include one of the more socially-conscious films of the genre, Why Must I Die? --http://en.wikipedia.org/wiki/Bad_girl_movies [Apr 2005]

see also: bad - film noir -

2005, Apr 24; 15:54 ::: Séance Noire

"Séance Noire" (1956) - Milton Greene
Marilyn Monroe, New York, 1956
image sourced here.

see also: noir

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