Posts Tagged ‘gothic’
May 2, 2014 | by Alexandra Pechman
The noir and gothic films of the forties and fifties often feature beguiling portraits, paintings that possess a strange power; they inspire acts of fraud, forgery, theft, murder, and obsession. Think of The Woman in the Window, Laura, or Vertigo: in the first few scenes of each film, a kind of investigator becomes enraptured with a woman who also appears in a painted portrait—and, often, the twist reveals that she’s not who she seems to be. In Laura, the portrait itself stands in for the woman who’s supposedly disappeared, as Detective Mark McPherson investigates the crime—until, that is, Laura walks into her old apartment, where the detective is sleeping beneath the portrait that so intrigued him. The portrait serves as a kind of false look, or false double, that only can really be appreciated on film.
The artists who created these portraits—usually just large-scale photographs slapped with varnish—typically went uncredited; today most of the portraits themselves have gone missing. In The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir Gothic Melodramas and Ghost Stories of the 1940s and 1950s, the art and film historians Steven Jacobs and Lisa Colpaert have created a guide to an imaginary gallery of these imaginary paintings, which often took imaginary people as their subjects.
What interested Jacobs most was not so much the portraits themselves, but the roles they played in their respective films: they reflected how people thought they should behave in front of pieces of art. The plots of these films often came from classic literature or standard noir fare, but it was film techniques that brought the paintings into more direct conversation with the narrative. Read More »
March 30, 2012 | by The Paris Review
For the first time in its eighty-year history, the Whitney Biennial gives substantial space—an entire floor of the museum, in fact—to dance and performance. The catalogue, typically a by-the-book affair (no pun intended), has matched the show’s experiential adventure, allotting each of the roughy fifty artists six pages for original contributions that extend, rather than merely reflect, the work in the museum. Among others entries, I love Vincent Fecteau’s use of a quote from Dennis Cooper to accompany his sculptures, while Cooper’s Last Spring project appears a few pages back; and Nick Mauss’s description of room he built in a dream: “just like that Claus Oldenburg installation with the plush and the zebra, except that the bed is covered in a grid of baguettes standing en point beneath a poster of the cover of Triste Tropiques.” —Nicole Rudick
It feels redundant to recommend something as canonical as Shoah, but until this past weekend, when I devoted a day to it at BAM, I’d never actually seen Claude Lanzmann’s landmark documentary all the way through. I must admit, I entered into the nine-hour experience with something of a sense of obligation. But it’s okay. Entertaining is the wrong word—wholly engrossing. I’ll leave it to others to discuss its cinematic and historical import; all I know is that it stays with you. —Sadie Stein
This week New Orleans held its annual Tennessee Williams Festival, featuring copious mint juleps and a Stella shouting contest. I celebrated the occasion with Sweet Bird of Youth, the 1962 film adaptation of Williams’s play. When tweaking and fame-hungry Chance Wayne (Paul Newman) returns to his Florida hometown to win back his sweetheart with big Hollywood promises, as always with dear Tennessee, heartbreak and histrionics ensue. Geraldine Page as Alexandra del Lago, a boozy, washed-up film star, steals the show. —Allison Bulger
Gothic thrillers are my guilty pleasure, but it’s hard to find a really good one. John Harwood’s The Séance is one of the best I’ve come across lately, a creepy page-turner that manager to capture the flavor of nineteenth-century horror conventions without feeling mannered. —S.S.
William K. Everson was the head of the Theodore Huff Memorial Film Society, which put on weekly retrospective film series in New York City from the fifties into the eighties. These screenings were attended by such luminaries as Stanley Kubrick and Susan Sontag. Everson wrote extensive notes for each show, and these legendary writings—idiosyncratic as they are erudite—are now available online through NYU. —Josh Anderson
Cultural narratives often contain the most distilled and revealing identifiers of a people and their imagination. The Met exhibition “Storytelling in Japanese Art” is a beautiful instance of narrative revelation, a window into the world of Japanese storytelling from the twelfth to the nineteenth century. This collection of various media—hand scrolls, folding screens, playing cards, textiles—pairs narrative text and intricate illustration to showcase the rich and fascinating history of Japanese people, their spirt and their stories. —Elizabeth Nelson
March 20, 2012 | by Sam Stephenson
From 1993 to 1995 I stumbled in two graduate programs, first economics and then religious studies. I was undone by advanced calculus and cultural theory—couldn’t handle the rigor of either, the puzzle of value unsolved. The abstract challenges of school were leavened by my job at Quail Ridge Books, an independent store in Raleigh. There, I shelved hardbacks and backlist paperbacks by Baldwin, Banks, Berger, (Amy) Bloom, Boland, Gass, Grumbach, Gurganus, Le Guin, L’Engle, Malamud, McCarthy, Mitchell, Munro, Walker, Wideman, (C.D.) Wright, (Charles) Wright, (Richard) Wright; I managed the magazines and literary journals, worked the cash register, and made friends with the customers.
I met the late Don Adcock there. A jazz flute player and the longtime band director at North Carolina State University, he first heard bebop in 1945 when he stepped off a battleship in San Francisco and wandered into a joint where Howard McGhee was playing. Fifty years later he would walk into the store and instantly identify whichever jazz musicians were playing on the house stereo—Tommy Flanagan, Hank Jones, Al Haig, Dexter Gordon, Zoot Sims, Lee Morgan, Bunny Berigan—and he knew all the songs, too. He often visited the store with his wife, the poet Betty Adcock, who taught at the local Meredith College as well as at Warren Wilson. Don and Betty became critical sources of encouragement for me as my writing developed, and I spent many afternoons at their Raleigh home—a modern, postwar structure with a flat roof surrounded by heavy woods.Read More »