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Wednesday, 9 August 2017

Ugokie-Ko-Ri-No-Tatehiki

Anime always was weird, even in 1933. I suppose it is worth clarifying that almost all cartoons were weird in the Twenties and Thirties, whether it's Mickey Mouse playing a tune on a cat or Betty Boop fleeing in terror from Cab Calloway rendered as a ghost walrus. By contrast, I suppose Ugokie-Ko-Ri-No-Tatehiki is not that weird. In it, a magical fox disguised as a samurai has a wizard's duel with a family of tanuki - the Japanese "racoon dog" gifted with shape-shifting powers - involving a bevy of traditional Japanese monsters. 

The title roughly translates to "Fox and Racoon-Dog Playing Pranks on Each Other" and features two mythologized versions of Japanese wildlife. After a wandering peasant crawls fretfully through a midnight scene worthy of Disney's Skeleton Dance, we are introduced to Kitsune, the Japanese fox. Foxes are indigenous to Japan and have taken on a unique set of folkloric characteristics there. White foxes are considered to be the messengers of Inari, the "kami" (god-like spiritual being) of fertility and harvests. Kyoto's Fushimi-Inari Shrine with its thousands of tori gates lined up in rows – made world famous by Memoirs of a Geisha – is adorned with white foxes. The more tails a fox has, up to nine, the more powerful it is. Amongst its powers are shape-shifting, and foxes are often thought to turn into humans for various purposes good and ill.

In Ugokie-Ko-Ri-No-Tatehiki, the fox turns into a wandering samurai and makes his way to a dilapidated temple. We know something is awry, however, when we see the will-o-wisp Hinotama light up, signifying supernatural activity. Inside the temple, our Kitsune draws the attention of a young Tanuki. Also known as "Racoon-Dogs" in English, Tanuki are a species of wild canine with racoon-like markings found throughout Japan. They are also ascribed special characteristics, foremost of which is shape-shifting and a jovial, playful attitude. You may have seen a statue of one standing in your local sushi restaurant, holding a flask of sake, wearing a straw hat, and flashing his engorged testicles.

Once the Kitsune sits down to enjoy some sake, this curious Tanuki adopts the form of Ichigen-issoku. This one-eyed, one-legged Yokai (monster or supernatural entity) is the ghost of the high priest Jinin of the Mount Hiei Temple in Kyoto, circumnavigating the mountain on midnight strolls. Seeing the ruse, the Kitsune entraps the Tanuki with its love of songs. Bested, the little one calls in the reinforcements. Upon his arrival, the elder Tanuki sneaks up on the Kitsune, in reference to a well-known urban legend. According to an August 1873 illustrated newspaper (Shinbun nishiki-e), a man was woken by the screams of his child, over whom loomed the form of a three-eyed monk. This monk grew larger and larger until it reached the very ceiling of his house. Wise to the trick himself, the father grabbed the monk's sleeve and pulled him down, whereupon the monk transformed back into a Tanuki. What follows is a knock-down, drag-out magic fight between the two shape-shifting pranksters.

Wednesday, 26 July 2017

Scientific Romances in the Land of the Rising Sun

Japan has a long history of Science Fiction, going far beyond the dystopian epics of Cyberpunk anime. It even goes back further than the immediate post-war period that gave rise to such things as the Kaiju monster movies and Osamu Tezuka's Mighty Atom. It goes all the way back to the worldwide scope of Scientific Romances and stands uniquely in the canon of the genre.

Wednesday, 12 July 2017

Nintendō no Meiji monogatari

Up to recently, the most antiquated piece of Nintendo technology in our home was the original Nintendo Entertainment System Deluxe Set that I've owned since 1986, with a more or less intact R.O.B. After that might be either my original Game Boy with its pea-green screen or a collection of Nintendo Power magazine going back to issue 6 (back when video games journalism was helpful things like maps and tips).

I'm currently working on miniaturizing my collection.
My original NES and R.O.B. meets the NES Classic Edition and R.O.B. amiibo.

Not that long ago, I added to my collection of Nintendo ephemera with the purchase of a lovely deck of Super Mario Bros. hanafuda cards. Though clearly of recent vintage - chock-a-block with references to Luigi's Mansion, Yoshi's Island, Super Mario 3D World, Super Mario Galaxy, and the Donkey Kong games as well as all the beloved characters - this edition of the classic Japanese card game hearkens back to the origins of the company in the misty but exciting days of the Meiji Era.


Friday, 7 July 2017

The Bioshock Infinite that Could Have Been

As readers of this weblog may have been able to glean by now, I have a bit of an obsession with Bioshock Infinite. Without reservation I can say that it is one of the finest video games I have ever played, transcending simple enjoyment of gaming itself to engage with a compelling story and setting. It ranks easily within my Top-10 of the whole genre of Retro-Victorian Scientific Romances, maybe even within my Top-5, for how it blends the human drama of guilt and redemption with a neat Sci-Fi premise with social commentary on conservatism and radicalism with an extremely well-researched and well-executed Victorian-Edwardian setting both aesthetically and historically rich.

For as fantastic as it is, Infinite is not flawless. Matt Lees of VideoGamerTV raised a very salient critique about how underused the premise of multiple realities truly is: "Why is it that the only thing Elizabeth ever really pulls in from another universe are gun turrets, and cover, and hooks? In an infinite universe of infinite possibilities, most people just end up building loads of freight hooks." The complexities of translating blue sky ideas into a functioning game can excuse Ken Levine and his team for a great deal. Concept art and early game demos provide us with a glimpse of what, in a parallel universe, could have been an even more ambitious game.

Thursday, 6 July 2017

Bioshock Infinite and American Exceptionalism

In Bioshock Infinite, the visitor to Columbia would first take note of its religiousity. The Welcome Center is essentially a tremendous baptismal font by which one may wash away the sins of Earth before ascending to the New Eden of this flying city. When the player character Booker DeWitt is nearly drowned in his unwilling full immersion, he regains consciousness in a pleasant garden loomed over by three statues representing the particular religious fervor of Columbia: George Washington, Thomas Jefferson and Benjamin Franklin rendered as holy saints. If only this extravagant fusion of patriotism with religion was invented in the minds of a team of game designers! It is, on the contrary, a logical extension of belief in American Exceptionalism.

Bioshock Infinite mural art.

The notion that the United States of America is somehow uniquely blessed in the history of humanity dates at least as far back as the American Revolution, with precedents in Puritan minister John Winthrop encouraging the settlers to build a "City on a Hill" as an example to the world in 1630. Thomas Jefferson defined the Revolution not merely as a conflict over taxation and governmental representation, but as a battle for the "Empire of Liberty" against British imperialism:
...we shall form to the American union a barrier against the dangerous extension of the British Province of Canada and add to the Empire of liberty an extensive and fertile Country thereby converting dangerous Enemies into valuable friends.
He went on to suggest to James Madison, when he took over the Presidency from Jefferson, that the invasion and assimilation of Canada was necessary to the extension of his ideological empire:
...we should then have only to include the North in our confederacy... and we should have such an empire for liberty as she has never surveyed since the creation: and I am persuaded no constitution was ever before so well calculated as ours for extensive empire and self government.
From the outset, the United States of America was viewed as much as a belief system as a country, its cause not merely one of territorial gain but of evangelistic zeal.

Wednesday, 5 July 2017

Bioshock Infinite, New Religious Movements and Utopian Communities

It is sometimes joked that the United States has never met a heresy that it didn't like. Constitutional barriers to the establishment of religion and the frontier mentality of American settlement fermented a petri dish of new religious movements throughout the Nineteenth century, many of which translated into would-be utopian communities. These communities were not strictly religious either, with many established on secular political, economic and philosophical ideals. All of them failed in one way or another, whether they fractured from within or could not sustain themselves in conflict with the laws of the nation. Both of these trends are reflected in Bioshock Infinite's flying utopian city of Columbia and its cult-like leader Zachary Hale Comstock.

Father Comstock sees a vision of a floating city, a new Eden.

When the Nineteenth century began, Christianity in the United States was in the early stages of what would be called the "Second Great Awakening." This movement was expressly evangelistic, restorationist and personalistic, eschewing the established denominations for forms of religion that emphasized personal conversion, charismatic leaders, heightened emotionalism, and counter-culture radicalism, while dispensing with what they perceived as accumulated traditions, and expressed through ad hoc associations like "cults," camp meetings and tent revivals. Their success can be attributed in many respects to what was later described in Frederick Jackson Turner's "Frontier Thesis": an ethos of individualism and self-reliance that was responsive to the demands of frontier settlement, with a mistrust of the established, systemic authority of governments, aristocracies, the arts, churches and academics (including scientists and formal theologians). The more spread out Americans got, the more they looked for solutions that fit their particular contexts and values. Some might argue that we still see echoes of these tendencies in the American zeitgeist.

Tuesday, 4 July 2017

Bioshock Infinite's Columbia and the City Beautiful Movement

At the turn of the previous century, the United States of America was undergoing a veritable cultural crisis at least as serious - if not as violent - as the Civil War. The 1890 census declared that the Western frontier had closed to new settlement, limiting the amount of available farmland and driving ever greater numbers of people into the bursting cities. By 1910, 46% of Americans lived in cities, which challenged the agrarian base that had previous defined America's economic activities. Those Americans, some 42 million people, needed to work, and found that work in factories. Factories, in turn, needed people to buy the goods they produced, creating a new culture of consumerism. However, an economic depression hit in 1893, which itself came after and during a long string of labour strikes starting with the Chicago Haymaker Riot of 1886. Advances in mass transportation allowed the better-off to retreat to the suburbs, leaving the inner cities to struggling, impoverished, working classes stuffed together in dank, diseased tenements. This decay of the city centres just as they were required to meet the needs of ever greater numbers of people created a very real problem in need of creative solutions.

In the game Bishock Infinite, Zachary Comstock suggests simply taking a whole city aloft and letting the Earth sort out its own problems. The design of Columbia, however, falls very much within one of the civic planning solutions proposed at the time in which the game is set: the City Beautiful Movement.


The guiding principle of the City Beautiful Movement was a belief in aesthetics as a moral philosophy. Beautiful environments, they maintained, would inspire civic pride and moral uprightness as citizens strove to live up to the standards of the architecture and city planning surrounding them. Charles Mulford Robinson, a journalist and leader in the movement, outlined the view that "Modern civic art desires for the beauty of towns and cities not for beauty's sake, but for the greater happiness, heath and comfort of the citizens." The chosen style of the movement's advocates was Beaux-Arts, imported from Europe. The Ecole des Beaux-Arts in Paris emphasized the principles of compositional unity and symmetry, the relationship of the elements of a building within itself and to other buildings, and the continuity of history, manifesting most frequently in Greco-Roman Revivalism. Its use would suggest that America had reached a cultural parity with the Old Country, finding a new identity as a world power now that notions of the agrarian frontier were passed. As a Neo-Classical style, Beaux-Arts was also seen to embody characteristics of order, harmony and dignity... All things that they hoped would rub off on the city's airs. In the process, the movement established the de facto official architecture of the United States.

Monday, 3 July 2017

Bioshock Infinite



Bioshock Infinite, a 2013 first-person shooter style video game released by designer Irrational Games and publisher 2K, is both a stunning visual feast and a provocative reflection on both the Scientific Romances of the Victorian-Edwardian Era and the modern socio-political climate in the West. The first Bioshock game was heralded as an artistic masterpiece of modern gaming, marrying an astonishing setting with interesting philosophical concept. In the original game's case, it was a critique of Ayn Rand's economic theory in an Art Deco city under the ocean gone to rot... A survival horror set in a submarine Fountainhead, though ostensibly better written, which extended into a meta-reflection on the very nature of video gaming itself. Bioshock Infinite continues this legacy of using video games as a medium to dissect the nightmare of political and economic utopias by way of a Victorian floating city.

Wednesday, 28 June 2017

The World's Columbian Exposition of 1893

With a decade to go before the dawn of the 20th century and 400 years after Columbus set foot on American shores, the United States was at a crossroads. By 1890, the period of Westward expansion was over: the 1890 US census announced that the last lands of the frontier had been settled. Any farmers looking for new property were forced to head north into Canada, where homesteads were still available until 1914. For the majority of people, cities provided the only means for a living. American society began the shift from agrarianism to urbanization, with all the associated ills. Advances in mass transportation allowed the better off to retreat to the suburbs on the cusp of city borders, leaving the inner cities in squalor... A process reaching its apotheosis after the Second World War. At the same time, an economic depression struck in 1893 when railway companies shuttered due to over-servicing of the market, taking investment banks down with them and rippling throughout the economy. Nevertheless, immigrants continued to arrive in droves, to the tune of 13 million over the course of the decade.

In 1893, Frederick Jackson Turner presented his landmark "Frontier Thesis," outlining the theory that the American collective psyche was shaped and identified with the concept of the Western frontier. Turner argued that the process of expansion into new territories with their own natural and societal challenges required nascent Americans to abandon non-functional European institutions, including its aristocracies, churches, forms of government and hereditary entitlements. The movement West encouraged an ethos of individualism, self-reliance, and republican democracy, with consequent mistrust of the systemic authority of government and science, as well as an antipathy towards art and a commitment to the use of violence to resolve conflict. Americans found greater utility in ad hoc measures suited to the immediate environment, from vigilance committees to new religious movements. Until the admission of Utah as a State in 1896, the US government had been waging a protracted political struggle with the Mormon church, which had effectively established theocratic rule in the territory. It's been said that the United States has never seen a heresy it didn't like, and the frontier environment was ripe for the formation of groups like the Mormons, Jehovah's Witnesses, Christian Science, Southern Baptists and Pentecostals.

The closing of the frontier marked a major collective psychological crisis in America. One response was to retreat into a newly fashioned mythology about the settlement period: the invention of the "Wild West." Buffalo Bill Cody debuted his first "Wild West" show in 1883, the first cinematic Western - The Great Train Robbery - premiered in 1902, and in 1897, Charlie Russell moved off the ranch and into the artist's studio to chronicle the passing era. Another response was to engage in overseas expansion. 1893 also marked the year that American dissidents overthrew the Kingdom of Hawaii and began the process to usher it into US governance in 1898. The end of the Spanish-American War in 1898 brought two new spheres of influence under the eagle's wing: the Caribbean (Cuba, Puerto Rico) and the Philippines (Guam, Philippine Islands). The latter lead to a war between American troops and Filipino freedom fighters that ended with the Philippines becoming an unincorporated American territory in 1902.

With a full-up nation and overseas aspirations, the United States came of age. No longer a frontier to be settled, many turned their attention to the question of what America was going to become and its readiness to ascend to the same echelon as the great European powers. That the 400th anniversary of Columbus' landing should coincide with America's social and psychological upheaval was providential for the organizers of the 1893 World's Exposition in Chicago. The committee was eager to apply the medium of the world's fair to the assertion of America's emergence into national maturity (or adolescence), creating a gleaming white beacon of American optimism and exceptionalism on the shores of Lake Michigan.


Thomas Moran, Chicago World's Fair.



Wednesday, 14 June 2017

Mark Twain's Tom Sawyer Abroad

Undoubtedly the most famous of Mark Twain's works are The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn. These two novels show Twain at the peak of satirical and storytelling prowess, using an identical cast of characters to tell widely divergent stories.

The Adventures of Tom Sawyer, published in 1876, follows the life of the miscreant of the fictional town of St. Petersburg, Missouri, along the shores of the mighty Mississippi River. In this otherwise sleepy town, the eponymous character gets into mischief and becomes embroiled in a murder plot. In the process, he comes to represent everything about rural life in America... The bygone age when children were allowed to explore, get dirty, hurt themselves, and run free on the wild outskirts of the village, fettered only by their own imaginations. This life, lived as recently as 30 years ago, seems to have dissipated under the weight of electronic devices and helicopter parents. To call it a "simpler time" would be a misnomer. Sawyer and his ladyfriend Becky Thatcher do find themselves chased through caverns by a murderer after all. It was a more fearless time, and thus seems more simple. Getting scuffed up was part of childhood. 

The Adventures of Huckleberry Finn followed in 1885. The Gilded Age romps of Sawyer, for as much murder and mayhem as they involved, were traded in for a sincere examination of life in the American South with all its harsh, squalid, unromantic realities. Quite early on, for instance, the reader is revolted by the horrible situation that the return of Huck's father puts him in. A barbaric man, he punishes the boy for "putting on airs" by being taught to read and proceeds to try and weasel Huck's trustfund (a legacy of the reward in the previous novel) as his "right" he is justly owed. No wonder Huck fakes his death and runs off with Jim, the escaped slave. As an unlearned, rural vagabond, Huck becomes Twain's "wild man" voice of satirical innocence.

Through the eyes of two social outsiders – Huck Finn and the escaped slave Jim – The Adventures of Huckleberry Finn explores not only the Mississippi’s shoreline but the American zeitgeist in a manner that is still shockingly relevant today. Huck and Jim are left to navigate the eternally turbulent waters where morality, race, politics, religion, economics, slavery, and the lingering fallout of the Civil War intersect. In American literature and the American mind, geography and psychology blend together. Pursuit of the frontier drove Americans westward and skyward, hitching up Conestoga wagons and revving up Harley-Davidsons, and in doing so shaped who Americans are. The fundamental form of American literature is the road trip… The Grapes of Wrath, Fear and Loathing in Las Vegas… and the first truly American novel is a trip on one of America’s first natural roads. Twain’s Mississippi is a geographic artery reaching into America’s metaphorical heart. Where it flows is sometimes quite ugly, and needs airing out. 

A further ten years later, Twain took a true flight of fancy with Tom Sawyer Abroad. Rather than reflecting on the realities of life in America, he instead wrote up a parody of Vernian Scientific Romances and dime novel Edisonades. The author takes Tom, Huck and Jim and throws them in with a mad inventor who takes them aloft in his dirigible. One can tell from this short novella and its follow-up Tom Sawyer, Detective that the gas had gone out of Sawyer and Finn for their author. Nevertheless, it does provide him with a few good moments of good-natured fun to poke at the genre.



Wednesday, 31 May 2017

Wil Vinton's The Adventures of Mark Twain



Because of the media savvy of most citizens in the West, thanks to growing up, as we have, with a constant glut of cinematic cliches, it is often easy to accurately assume what a film is going to be like. If we are told, for example, that it is a children's film, then we will often rightly figure on something happy and trite and sugary in its sweetness, and just about as filling as candy. If we can see that it is done in a medium such as Claymation, we may jump to that assumption right away. Now and then, however, we may find our assumption to be altogether mistaken. Indeed, we may find what is ostensibly considered a children's movie that shocks us, not from any snide cynicism or brutality that has come to pass for kids' entertainment, but rather by its profound intelligence and sensitivity. Such is the case with the Claymation animated feature The Adventures of Mark Twain.


Wednesday, 17 May 2017

A Florida Enchantment

Released in 1914 and based on an 1891 novel, A Florida Enchantment begins like any other high society silent film. The most notable thing about it for the first while, and a fondness throughout, is its on-location shooting in St. Augustine, Florida. For scholars of film, A Florida Enchantment is more notable as the first movie to ostensibly feature lesbianism and transgenderism.

First, the historical interest. As the oldest city in the United States, St. Augustine was originally founded by the Spanish in 1565 to secure shipping between Spain and the Caribbean as well as lay claim to the region dubbed La Florida by Ponce de León. The famed Spanish explorer was reputed to have set foot on St. Augustine's shores himself in 1513, in his supposed search for the Fountain of Youth. The mighty Castillo de San Marcos was eventually built from local coquina stone (prehistoric clamshell and other fragments cemented together over time), which helped repel repeated attacks from the privateers employed by enemy nations. The fort and St. Augustine passed from the Spanish to the English in one treaty, then back to Spain in another treaty, and then to the United States.

With ownership of the city definitively settled, tourists could begin to arrive en masse. The most influential character in the city's late 19th century "Golden Age" was Henry Flagler. John D. Rockefeller's partner in the Standard Oil Company, Flagler visited the sleepy town on his second honeymoon and was taken with both its charm and its potential for tourism. He envisioned a winter retreat for New England socialites and poured money into three grand hotels: the Ponce de León, Alcazar, and Casa Monica (which Flagler purchased and renamed the Cordova). Today, the Casa Monica still serves as an hotel, but the Alcazar is now the Lightner Museum and the Ponce de León is part of Flagler College. The latter was completed in 1887 in luxurious Spanish Revival style, with electric lights supplied by Flagler's personal friend Thomas Edison (though legend has it that the staff had to flip the switches since guests were too afraid to). Places like the Castillo de San Marcos and the Fountain of Youth Archaeological Park were major attractions, as they remain today. One of the highlights of A Florida Enchantment is catching those glimpses of those attractions, if you know what to look for.


Wednesday, 3 May 2017

Paintings of Paris by Jean Béraud

Jeune femme traversant le boulevard

Born in Saint Petersburg in 1846 to an artistic family, Jean Béraud originally set about to study law when the occupation of Paris in 1870 during the Franco-Prussian War forced him onto a different track. Discovering his love of painting, he first exhibited in the famed Salon of the Académie des Beaux-Arts in 1872. Over the following decades, Béraud became known for detailed, glamorous, often humorous, scenes of Parisian life during the Belle Époque. His works remain today as a feast for the eyes of anyone fascinated with the turn of the previous century.


Wednesday, 19 April 2017

Jules Verne's The Hunt for the Meteor


Written in 1901 but published in 1908, The Hunt for the Meteor is one of Jules Verne's last, great, posthumous novels. Like many of those novels, the original French publication (and most subsequent English translations) was altered by Verne's son Michel, but nevertheless, what peeks through is a final novel reiterating the elder Verne's status as a first-class satirist.


Wednesday, 5 April 2017

Jules Verne's From the Earth to the Moon



It is often said that Jules Verne wrote about technology while H.G. Wells wrote about people. Between the two originators of the Scientific Romance, the Briton is regarded as writing social, political and religious tracts veiled in thin scientific premises of Martian invasions, cruel vivisection, and crueler eugenic fantasies. Verne's domain was that of technology and discovery, writing carefully researched stories about the phenomena of science and industry.

Wherever this assessment stands in relation to Wells (he may have been the one to propagate it), it is not entirely accurate in regards to the elder Frenchman. He certainly did write about technology and industry, science and discovery, and did so excellently. That was not the limit of his genius, however. Verne's eye pierced not only into the future of technology, but also how technology affects and is affected by society.

One of Verne's earliest novels was of this sort... In fact, the largely accurate vision of metropolitan alienation presented by Paris in the Twentieth Century was so drear that publisher Jules Hetzel refused to release the book. It would not occupy store shelves until 1994. While Verne was dissuaded from further depressing and pessimistic work (at least until Hetzel died and Verne became a much older, more embittered man), he continued to inject insightful commentary into his stories of adventure. From the Earth to the Moon, written only two years after Paris in the Twentieth Century, is a perfect example of Verne's approach to the subject. What we find within its pages is not so much the story of a lunar expedition as a hysterical and biting satire of the American military-industrial complex.


Wednesday, 22 March 2017

All Aboard for the Moon on Simpson's Electric Gun

The following article appeared in the July 12, 1908 edition of the San Francisco Call newspaper. Not unlike modern science journalism, a relatively modest discovery - W.S. Simpson's electric gun, capable of launching a projectile 300 miles - is inflated to world-shattering proportions.
"Men could abide on the moon for a time," says Professor Dodge. "In thick walled, airtight houses, and could walk out of doors in airtight divers’ suits. Scientists would find in the wastes a fresh field for exploration. Astronomers could plant their telescopes there, free from their most serious hindrance, the earth’s atmosphere. Tourists of the wealthy and adventurous class would not fail to visit the satellite, and it is probable there are veins of precious metals, beds of diamonds and an abundance of sulphur in a world of so highly volcanic a character."
The scanned image may be clicked on for a closer look.



Wednesday, 8 March 2017

The Air Ship, a Musical Farce Comedy

Much like modern cinematic blockbusters, the theatrical stage of the Victorian and Edwardian Eras saw the same competition for bigger, grander, and more effects-laden productions to draw audiences. J.M. Gaites rose to the challenge, penning The Air Ship in 1899.



Wednesday, 22 February 2017

Señor Zorro, the Masked Avenger

The archetype of the avenging swashbuckler is a very old one. Ballads of Robin Hood go back to the 15th century, and there were certainly others before him... Characters of great daring and great romance who rob from the rich and give to the poor, and otherwise seek to right wrongs and fight injustice against which others are cowardly or impotent. The legacy of the swashbuckler has distilled into the modern superhero, the Captain Americas and Batmans who fight the fight that properly constituted authority cannot. Though the swashbuckler archetype is an old one, some of its most popular and well-known manifestations are not as old as some might think. The lineage of Batman - the dilettante whose secret identity is the mask - goes back at least to Baroness Orczy's Scarlet Pimpernel, the 1905 novel set in Revolutionary France. His more direct ancestor is Johnston McCulley's black-clad avenger of Alta California, Señor Zorro, who was created in 1919. 



Wednesday, 8 February 2017

Walter R. Booth's "Airship" Trilogy

By 1909, Scientific Romances were well established in film. The "Romance" part often overshadowed the "Scientific" part, however. Georges Méliès, one of the most innovative minds in movies in the first decade of the 20th century, was most interested fantasies with a Vernian gloss rather than a straight attempt at serious speculative storytelling. In many cases, science was merely a just-so explanation for phenomena that would otherwise be attributed to magic or ghosts. For example, The Electric Hotel (1905) by Segundo de Chomón is an otherwise typical haunted house trick film, only this time it's electric conveniences gone awry.

Walter R. Booth was a magician turned trick filmmaker, like Georges Méliès in many respects. with the same preoccupations. 1901's The Magic Sword, for instance, is a straightforward fantasy story. An Over-Incubated Baby from the same year is more of a trick film with a mad science premise. But come 1909, Booth was interested in a much different project. Rather than a humourous trick film, The Airship Destroyer is a remarkably serious and prescient attempt at Scientific Romances in the vein of H.G. Wells' War in the Air, published the preceding year.        

This film is a remarkably prophetic one-reel opening chapter to a trio of conceptually similar films that includes The Aerial Submarine and The Aerial Anarchists. In it, a thinly-veiled Germany descends on the British coast with a fleet of invincible dirigibles which can only be brought down by the genius of an inventor and his guided aerial torpedo. More authentically like Verne and Wells, Booth's prognostications were based on solid projections of existing technology, as both Zeppelin's and the Wright Brothers' crafts had debuted and entered into commuter and military service by 1909. A scant few years thereafter, Europe would descend into violent mechanized warfare and The Airship Destroyer would become horrifying reality. It was even re-released in 1915 to boost morale. 

Extract from The Airship Destroyer.

A year later, Booth released The Aerial Submarine, in which a pair of children are kidnapped by high-tech pirates inspired loosely by Jules Verne's Robur. From beneath the waves they strike out at passing cruise ships, looting their cargoes. When the submarines of the Royal Navy catch their scent, the pirates take to the air and drop shells on their hapless pursuers. It is only when a careless engineer causes disaster that the world has a hope of salvation from the aero-pirates. It is much less serious than The Airship Destroyer, returning to the cinematic genre's more fanciful trends.

Extract from The Aerial Submarine.

Unfortunately, the third film in the series, The Aerial Anarchists (1911), is a lost film. No footage is known to exist, and all that is known is a vague synopsis that mentions a bombing of St. Paul's Cathedral and the destruction of a railway over a chasm.

Both The Airship Destroyer and The Aerial Submarine can be viewed from British ISPs on the BFI Player website.

Saturday, 4 February 2017

Rose Marie, Renfrew, and the Canadian Mountie on Film


Today's special feature is part of the O Canada! Blogathon hosted by Speakeasy and Silver Screenings. Click on the banner above to read more about the legacy of motion pictures in the True North Strong and Free!





Hollywood's "golden age" of the Twenties, Thirties, and Forties never wanted for stories of adventure set in the rugged wilderness of the mighty Northwoods. Between An Acadian Elopement in 1907 and the 1975 publication of Canadian historian Pierre Burton's damning Hollywood's Canada: The Americanization of Our National Image, 575 films were produced featuring mountainous and snowy locales populated by trappers, loggers and the women of disrepute who loved them. More than half of these, over 250, focused on that most iconic figure of Canadian history, the Mountie.

CANADA!

Wednesday, 25 January 2017

Harry Grant Dart's The Explorigator



When he began the amazing story of The Explorigator on Sunday, May 3rd, 1908, Harry Grant Dart was already well on his way to becoming an established and respected illustrator. After serving as a sketch artist in Cuba for the New York World paper, he assumed responsibility as its art director. It was for them that he developed the idea of The Explorigator as a response to Winsor McCay's Little Nemo in Slumberland, running in the rival New York Herald.  

Wednesday, 11 January 2017

Harry Grant Dart's Futuristic Air Travel

One of the great, famous images of retro-futurism uncovered by the Internet's digital archaeologists in the last decade, Harry Grant Dart's painting of an Edwardian lady piloting an airship has become something of an icon. Originally published as the cover to the October 1908 edition of All-Story Monthly, it builds on some of the themes of Scientific Romance that Dart had already been exploring in his comic strip The Explorigator earlier that year. Nor was he alien to making social commentary, as in the case of an illustration for Puck that critiqued the movement to allow women to smoke in public. That illustration made the rounds again in 2014, where it was (erroneously) lampooned as an example of anti-suffrage histrionics. This particular issue of All-Story included the Scientific Romance The Master of the World by Charles Francis Bourke (not Jules Verne).


Dart's cover in published form.