A new set of the wonderful Cassingle series from one of my favorite DIY labels, superpolar Taïps, featuring a menagerie of experimental pop and electronic soundscapes weaved through each of the featured artists’ – Goodparley, Von Heuser, and agogol – impeccable sensibilities:
Splitting up the links posts into Wednesday and Saturday offerings. Should make each a little less unwieldy.
"In the words of one user, corecore is “life changing because it makes you see the visual of your sad and meaningless life.” Explained: What Is Corecore, the Dada-esque ‘Artistic Movement’ Now Trending on TikTok? | artnet
Inside John F. Kennedy's Nantucket Doomsday Bunker | Smithsonian Magazine
A fantastic idea: New French law will blanket parking lots with solar panels | Washington Post
A Thames Mudlarker’s Notebook | Notebook Stories
Intriguing - retcon in the offing to fit Ballard in? Though probably not necessary - Harry did have a long career: ‘Bosch’ Universe Expands With 2 New Series In Works At Amazon Studios Centered On Jerry Edgar & Renee Ballard Characters | Deadline
Hopefully something comes along to replace Comixology - though it shouldn’t be this hard. A good look at solid possibilities: Digital Comics: Omnibus and GlobalComix are ready | ComicsBeat
(Directed by F.W. Murnau from an adaptation of Bram Stoker's DRACULA by Henrik Galeen; starring Max Schrek, Gustav Van Wangenheim, Greta Schröder, and Alexander Granach. Released 04 March 1922); (re)watched 2023w06 via Blu-Ray)
First time (re)watching Murnau’s masterpiece (among several) in years – first time, certainly with German intertitles – and it feels like I watched a different, even better, film than I remember: I’m sure I’ve seen countless iterations of it over the years – this site has a staggering and rich history of the film and its various theatrical and home video re-releases (though according to Reid’s work, the “different, even better film than I remember,” that I (re)watched was the awful version (the only available version in the US) but at least the jittery thing – which I knew wasn't in any of the other versions I've seen – makes sense):
As if that wasn’t enough, to make the resulting mess still fit into 24fps, (Kino) then eliminated every eighth frame. This results in the complete loss of over 11% of Nosferatu’s images. The outcome is that visible motion jitter, a juddery, stutter-like effect, is introduced throughout and a goodly chunk of the actual film is gone. The restorer’s job wholly undone. To look at it another way, the Kino is cut, throughout its length, and the Eureka is uncut. If we rejigged the Kino transfer to match the Eureka’s pulldown, it would run shorter by about 10 minutes. No thanks.
Well, fuck.
Still, great to revisit it, even if it was something of a jittery mess (now I’m pissed but at least researching it brought me to DRAKULA HALÁLA so my lost film love has been sated). I'm going to go buy a region-free Blu-Ray player and binge on Euro-Blu and probably rewrite this thing once I see the BFI version.
While working on a PostScript for my umpteenth rewatch (though first on Blu) of Murnau's NOSFERATU (coming later today), I came across this little bit of lost film gold: NOSFERATU wasn't the first on-screen appearance of Dracula (or litigious analogue) but the second. The first was a Hungarian film, now lost, DRAKULA HALÁLA, (DRACULA'S DEATH), directed by Károly Lajthay.
The plot - which doesn't follow the plot of the novel but sounds fascinating nonetheless:
A woman experiences frightening visions after being admitted to an insane asylum, where one of the inmates claims to be Drakula. She has trouble determining whether the inmate's visions are real or merely nightmares.
Apparently only a few images, featuring stars Paul Askonas (Dracula) and Margaret Lix (Mary) from the film survive:
An announcement of its release:
As fascinating as all of this is – and it is, utterly, profoundly, for this Dracula nut who grew up making lists of vampire films with his grandfather – it’s who was, along with Lajthay, credited as a writer that floored me:
The film was written by Lajthay and Mihály Kertész who had was also a prominent film director in Budapest and became better known as using the name Michael Curtiz, the director of American productions such as DOCTOR X (1932), MYSTERY OF THE WAX MUSEUM (1933) and CASABLANCA (1942).
Now I really, REALLY want to see this – nevermind CASABLANCA: MYSTERY OF THE WAX MUSEUM is one of my favorites. And thus, my passion for lost films – tragic and without resolution though it may be – continues...
Can't decide if it was a smart – or fair – move to read another book set primarily around a labyrinthine castle so soon after TITUS GROAN but that Egan managed to pull me in – first because I couldn't figure out what she was doing (I never read jacket blurbs or synopses) and then because it moved me, wholly – in spite of the similar environment is, I suppose, a testament to how good THE KEEP is. Reminds me far more of MANHATTAN BEACH than GOON SQUAD or THE CANDY HOUSE (though it does feature some of that techno-recalcitrance and device addiction – in a decidely mid-naughties fashion – of the latter): not at all a bad thing. My complete reading list, from 2013 to the present, lives here.
Stirring, resplendent: a perfect injection of calm into an otherwise unmoored week. Her latest release, the triple-LP DOES SPRING HIDE ITS JOY, is similarly EarBlissy.
Max Schreck on the set of NOSFERATU (1922).
