2008 August 25
From The Art and Popular Culture Encyclopedia
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| :I was convinced about the outcome of this film when I visited a museum in New York, the [[International Center of Photography]]. They exhibit the [[Bellmer Dolls|dolls made by Hans Bellmer]], and those are the dolls depicted in the movie. Those dolls were made by [Bellmer] about 50 years ago, and are famous for the balls they have for joints. I based the idea of the [[gynoid]]s on them. | :I was convinced about the outcome of this film when I visited a museum in New York, the [[International Center of Photography]]. They exhibit the [[Bellmer Dolls|dolls made by Hans Bellmer]], and those are the dolls depicted in the movie. Those dolls were made by [Bellmer] about 50 years ago, and are famous for the balls they have for joints. I based the idea of the [[gynoid]]s on them. | ||
| - | He also explains that '''[[The Long Goodbye]]'' was actually my origin for the film, and ''[[Chinatown]]'', by Roman Polanski.' [http://www.damaris.org/content/content.php?type=5&id=463] | + | He also explains that '''[[The Long Goodbye]]'' was actually my origin for the film, and ''[[Chinatown (1974 film)|Chinatown]]'', by Roman Polanski.' [http://www.damaris.org/content/content.php?type=5&id=463] |
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I've plugged the Detroit Grand Pubahs before [1] for their music and their visuals. They are worthy of their Daliesque, Clintonesque and Raesque affiliations.
A Dutch equivalent of the Pubahs would be the Dutch rapper Willie Wartaal, at least judging by this single which goes ... come on rabbit wiggle it wiggle it....
The early 2008 track is called "Konijntje" and accords well with for example "Sandwiches" by the Pubahs.
Ivan Karp, Robert Scull, Robert Fraser, Henry Geldzahler, Leo Castelli, tastemakers of the 20th century, followed by a generation of American art criticism inspired by Bataille and Deleuze.
User:Jahsonic/Because he had a hairy backside
BLOCK, formalist vs contextualism
1957: Piero Simondo and Guy Debord photographed by Ralph Rumney at Cosio d'Arroscia, Italy. [2][3]
The founders of the Situationist International at Cosio d'Arroscia, in April 1957[4]. From left to right; Giuseppe Pinot-Gallizio, Piero Simondo, Elena Verrone, Michele Bernstein, Guy Debord, Asger Jorn and Walter Olmo.
Sholem Stein has noted that Situationist practices continue to influence underground street artists such as gHOSTbOY, Banksy, Borf, and Mudwig, whose artistic interventions and subversive practice can be seen on advertising billboards, street signs and walls throughout Europe and The United States. The aforementioned use stencil graffiti.
More than one commentator has observed that Oshii's 'sumptuous philosophical mystery' owes an imaginative debt to the classic sci-fi movie Blade Runner (1982) and to its source, author Philip K. Dick's Do Androids Dream of Electric Sheep? (especially in Batou's relationship with his basset hound). However, Oshii also draws inspiration from such diverse sources as Cartesian philosophy, the erotic doll photographs of twentieth century surrealist sculptor Hans Bellmer, and the 'writing of proto-Surrealist Raymond Roussel, whose 1914 novel Locus Solus anticipates many of the film's preoccupations.' As the director comments:
- I was convinced about the outcome of this film when I visited a museum in New York, the International Center of Photography. They exhibit the dolls made by Hans Bellmer, and those are the dolls depicted in the movie. Those dolls were made by [Bellmer] about 50 years ago, and are famous for the balls they have for joints. I based the idea of the gynoids on them.
He also explains that 'The Long Goodbye was actually my origin for the film, and Chinatown, by Roman Polanski.' [5]
![[2]](http://www.notbored.org/cosio.gif){kind=link}