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I visit this beautiful view in Sedona on my way to the Grand Canyon
Filmmaker/Photographer www.MaikKleinert.com
I've had a documentary brewing in my mind for really long time. It takes a lot of dedication and work to put one together. I have some obstacles, but I think it is an attainable goal. The subject matter is a secret for now because I think my idea is kind of a good one. I woke up this morning and overcaffinated myself, so now I'm bounding with ideas I can't contain. If someone does this movie before me I will be kicking myself. Oh, but the obstacles I have before me are tough.... ack, what to do what to do.
Via Instagram:
There are many things I may never learn, even about photography. There is either no room in my brain, or it’s been too long and the window of opportunity passed me by a long time ago. For instance, I have almost no idea how to “direct” models. I’ve had new people shoot with me, anxiety showing on their faces as they ask me what they should do or how to pose. And hopefully it disarms them when I say I don’t know, because a lot of them forget after we’ve wandered and talked for a while and suddenly photos have appeared. Apparently it wasn’t important enough for me to learn, and at some point the moment passed. I may have also missed my chance at making movies or short films. I feel like being able to direct is vital for that as well, but then pile on all of the other new skills you need and the ability to collaborate with an actor, and I’ve got a large wall in front of me. Gabriella can do all of those things, and that is something I marvel at. This was my first photo shoot where I got to watch a person’s short film on my phone while I waited for them to arrive, and that is a unique experience. I may not be able to learn how to make short films, but I can still share Gabriella’s. Head to instagram.com/gabrielladreannefilm if you’d like to watch her anxiety themed, award winning short “Coping: don’t let it consume you”. (I think I got all of that right)
Autumn Polaroid Week 2022, Day 3
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To keep up with my photography, follow me at:
"Allora io raccolgo i chilometri di pellicola della mia vita, mi ci avvolgo come nelle spire di un serpente e alla fine trovo quel pezzo di racconto. Cerco di togliere via il troppo dolore, e la futilità, e i particolari superflui, tanto so che torneranno poco alla volta."
松竹大船撮影所と同じ年に開業したミカサが向かい（味匠があった建物）に移転している。旧店舗の土地は駐車場になっている。カツメシ食べたい。カサドールの方はまだやっていますかね？鯵のマリネでシュタインヘーガー飲みたい。
Actor Tristan Mckinnon between scenes on the set of my upcoming horror/fantasy short film ALFRED J HEMLOCK.
Trailer:https: vimeo.com/176929079
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Spencer Douglass Crockwell (1904-1968) was an American commercial artist and experimental filmmaker. He was most famous for his illustrations and advertisements for “The Saturday Evening Post” and for murals and posters for the Works Progress Administration (WPA) and for various branches of the U.S. Government during World War II. He also created poster art for the MGM film “The Yearling” (1946).
In 1934, Crockwell began experimenting with films while balancing his career as an illustrator. He initially wanted to create flexible, low-cost animation techniques. In 1936-1937, he collaborated with David Smith, a sculptor, to create surrealistic films. [Source: Wikipedia]
Mock advertisement with an image of myself as Chantal Thierry, a 1960s French secret agent from my "Absolutely Smashing" franchise.
Miami-Based documentary filmmaker specializing in storytelling, cinematography, commercial video production, and conference videography. With over 10 years as a freelancer, I’ve specialized in operating as a one-man-band without compromise. www.arielmartinez.tv
French postcard by Éditions Hazan, Paris, no. 6007, 1988. Photo: Sam Levin, 1969. Federico Fellini on the set of Satyricon (1969).
Italian film director and screenwriter Federico Fellini (1920-1993) was one of the most influential filmmakers of all time. He was known for his distinct style that blends fantasy and baroque images with earthiness. In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita (1960), was nominated for twelve Academy Awards. He won an Oscar for La Strada (1954), Le notti di Cabiria (1957), 8½ (1963) and Amarcord (1973).
Federico Fellini was born in 1920 in Rimini in the Emilia-Romagna region. His native Rimini and characters there like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would later be remembered in several of his films. His traveling salesman father Urbano Fellini showed up in La dolce vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. Fellini's first passion was the theater, and at the age of 12, he briefly ran away from home to join the circus, later entering college solely to avoid being drafted. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real-life role of a journalist. Additionally, Fellini worked as an artist on fumetti (Italy's illustrated magazines), and occasionally even made his living as a caricaturist at Roman restaurants. He caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds 'Cico and Pallina'. Pallina was played by acting student Giulietta Masina, who became Fellini's real-life wife in 1943. They remained together until his death. The young Fellini loved vaudeville and was befriended in 1939 by leading comedian Aldo Fabrizi. Fabrizi recruited Fellini to supply stories and ideas for his performances; between 1939 and 1944. The two men worked in tandem on a number of largely forgotten comedies, among them No Me Lo Dire, Quarta Pagina, and Campo de Fiori. When young director Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma città aperta (Roberto Rosselini, 1945), he made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisà (Roberto Rosselini, 1946). Dale O'Connor at IMDb: "On that film, he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work."
Federico Fellini collaborated on films by Pietro Germi (including In Nomine Della Legge and Il Cammino Della Speranza) and Alberto Lattuda (Il Delitto di Giovanni Episcopo and Il Mulino del Po), among others. In 1948, Fellini completed the screenplay for Il Miracolo, the second and longer section of Rossellini's two-part effort Amore. Here Fellini's utterly original worldview first began to truly take shape in the form of archetypal characters (a simple-minded peasant girl and her male counterpart, a kind of holy simpleton), recurring motifs (show business, parties, the sea), and an ambiguous relationship with religion and spirituality. He further explored this in his script for Rossellini's Francesco, Giullare di Dio (Roberto Rosselini, 1949). In 1950, Fellini made his first attempt at directing one of his own screenplays (with help of Alberto Lattuda), Luci del Varieta (Federico Fellini, Alberto Lattudada, 1950), which further developed his fusion of neorealism with the atmosphere of surrealism. Fellini then directed the romantic satire Lo Sciecco Bianc. The film marked his first work with composer Nino Rota. Fellini's initial masterpiece, I Vitteloni, followed in 1953. The first of his features to receive international distribution, it later won the Silver Lion at the Venice Film Festival, the first of many similar honours. The brilliant La Strada followed in 1954, also garnering the Silver Lion as well as the Oscar for Best Foreign Language Picture. After helming Il Bidone (1955), Fellini and a group of screenwriters (including a young Pier Paolo Pasolini) began work on Le Notti di Cabiria (1956), which also won an Oscar. Then he mounted La Dolce Vita (1960), the first of his pictures to star actor Marcello Mastroianni. He would become Fellini's cinematic alter ego over the course of several subsequent collaborations, its portrait of sex and death in Rome's high society created a tremendous scandal at its Milan premiere, where the audience booed, insulted, and spat on the director. Regardless, La Dolce Vita won the Palm d'Or at the Cannes Film Festival and remains a landmark in cinematic history.
During the 1960s, many films by Federico Fellini were influenced by the work of Swiss psychiatrist Carl Jung and his ideas on the role of archetypes and the collective unconscious. The women who had both attracted and frightened him in his youth and an Italy dominated in his youth by Mussolini and Pope Pius XII inspired Fellini's dreams. In the 1960s, he started to record them in notebooks, and life and dreams became the raw material for such films as 8½ (1963) or Fellini - Satyricon (1969). With 1965's Giulietta Degli Spiriti, Fellini worked for the first time in color. After experimenting with LSD under the supervision of doctors, he began scripting Il Viaggio di G. Mastorna. Over a year of pre-production followed, hampered by difficulties with producers, actors, and even a jury trial. Finally on April 10th, 1967, Fellini suffered a nervous breakdown, resulting in a month-long nursing homestay. Ultimately, he gave up on ever bringing Il Viaggio di G. Mastorna to the screen, and his new producer, Alberto Grimaldi, was forced to buy out former producer Dino De Laurentis for close to half a billion liras. As the decade drew to a close, Fellini returned to work with a vengeance, first resurfacing with Toby Dammitt, a short feature for the collaborative film Tre Passi nel Delirio. Turning to television, he helmed Fellini: A Director's Notebook, a one-hour special for NBC, followed by the feature effort Fellini Satyricon. I Clown followed in 1970, with Roma bowing in 1972. Amarcord, a childhood reminiscence, won a fourth Academy Award in 1974. It proved to be his final international success. He later shot Il Casanova di Federico Fellini (1976), Prova d'Orchestra (1979), and La Citta delle Donne (1980), which were less successful. Fellini turned to publishing with Fare un Film, an anthology of notes about his life and work. E la Nave Va (1983) and Ginger e Fred (1985) followed, but by the time of L'Intervista (1987), he was facing considerable difficulty finding financing for his projects. His last completed film was La Voce Della Luna (1989). In the early 1990s, Fellini helmed a handful of television commercials, and in 1993 he won his fifth Academy Award for a lifetime of service to the film industry. In 1993, Federico Fellini died the day after his 50th wedding anniversary. He was 73 years old. Jason Ankeny at AllMovie: "One of the most visionary figures to emerge from the fertile motion picture community of postwar-era Italy, Federico Fellini brought a new level of autobiographical intensity to his craft; more than any other filmmaker of his era, he transformed the realities of his life into the surrealism of his art. Though originally a product of the neorealist school, the eccentricity of Fellini's characterizations and his absurdist sense of comedy set him squarely apart from contemporaries like Vittorio De Sica or Roberto Rossellini, and at the peak of his career his work adopted a distinctively poetic, flamboyant, and influential style so unique that only the term "Felliniesque" could accurately describe it. "
Source: Jason Ankeny (AllMovie), Dale O' Connor (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Dutch promotion card by Europop, Haarlem. Photo: Francesco Scavullo, 1978.
Harris Glenn Milstead, better known by his stage name Divine (1945-1988), was an American actor, singer, and drag queen. He was closely associated with the independent filmmaker John Waters. Divine became the international icon of bad taste cinema.
Harris Glenn Milstead was born in 1945 in Baltimore, Maryland to a conservative middle-class family. His parents were Harris Bernard Milstead and Frances Milstead (née Vukovich). Their only child, his parents lavished almost anything that he wanted upon him, including food. He became overweight, a condition he lived with for the rest of his life. Divine preferred to use his middle name, Glenn, to distinguish himself from his father, and was referred to as such by his parents and friends. When he was 17, his parents sent him to a psychiatrist, where he first realised his sexual attraction to men as well as women, something then taboo in conventional American society. In 1963, he began attending the Marinella Beauty School, where he learned hair styling and, after completing his studies, gained employment at a couple of local salons, specialising in the creation of beehives and other upswept hairstyles.
Milstead developed an early interest in drag while working as a women's hairdresser. He eventually gave up his job and for a while was financially supported by his parents, who catered to his expensive taste in clothes and cars. They reluctantly paid the many bills that he ran up financing lavish parties where he would dress up in drag as his favourite celebrity, actress Elizabeth Taylor. By the mid-1960s he had embraced the city's countercultural scene. His friend from high school, John Waters gave him the name 'Divine' and the tagline of 'the most beautiful woman in the world, almost'. Waters later remarked that he had borrowed the name Divine from a character in Jean Genet's novel Our Lady of the Flowers (1943). Along with his friend David Lochary, Divine joined Waters' acting troupe, the Dreamlanders (which also included Mary Vivian Pearce and Mink Stole), and adopted female roles for their experimental short films. The first was Roman Candles (John Waters, 1966), which was shown 'triple projected' on three 8mm projectors running simultaneously but was never released commercially. Divine starred in drag as a smoking nun. Other short films were Eat Your Makeup (John Waters, 1968), and The Diane Linkletter Story (John Waters, 1969), filmed on Sunday afternoons. Again in drag, he took a lead role in Waters' first full-length film, Mondo Trasho (John Waters, 1969) Divine as an unnamed blonde woman who drives around town and runs over a hitchhiker. In their review of the film, the Los Angeles Free Press exclaimed that "The 300-pound (140 kg) sex-symbol Divine is undoubtedly some sort of discovery." In 1970, he travelled to San Francisco, California, a city which had a large gay subculture that attracted Divine, who was then embracing his homosexuality. Divine played the role of Lady Divine, the operator of an exhibit known as The Cavalcade of Perversion who turns to murdering visitors in Waters's film Multiple Maniacs. The film contained several controversial scenes, notably one which involved Lady Divine masturbating using a rosary while sitting inside a church. In another, Lady Divine kills her boyfriend and proceeds to eat his heart; in actuality, Divine bit into a cow's heart which had gone rotten from being left out on the set all day. At the end of the film, Lady Divine is raped by a giant lobster named Lobstora, an act that drives her into madness; she subsequently goes on a killing spree in Fell's Point before being shot down by the National Guard. Due to its controversial nature, Waters feared that the film would be banned and confiscated by the Maryland Censor Board, so avoided their jurisdiction by only screening it at non-commercial venues, namely rented church premises. Multiple Maniacs was the first of Waters's films to receive widespread attention, as did Divine; KSFX remarked that "Divine is incredible! Could start a whole new trend in films." Following his San Francisco sojourn, Divine returned to Baltimore and participated in Pink Flamingos (John Waters, 1972). Designed by Waters to be an exercise in poor taste, the film featured Divine as Babs Johnson, living in a pink trailer with her egg-eating grandmother, chicken-loving son and voyeuristic daughter. Babs claims to be 'the filthiest person alive' and she is forced to prove her right to the title from challengers, Connie (Mink Stole) and Raymond Marble (David Lochary). In one scene, the Marbles send Babs a turd in a box as a birthday present, and in order to enact this scene, Divine defecated into the box the night before. The final scene in the film proved particularly infamous, involving Babs eating fresh dog feces; Divine later told a reporter, "I followed that dog around for three hours just zooming in on its asshole," waiting for it to empty its bowels so that they could film the scene. The scene became one of the most notable moments of Divine's acting career, and he later complained of people thinking that "I run around doing it all the time". The film proved a hit on the U.S. midnight movie circuit, became a cult classic, and established Divine's fame within the American counterculture.
Divine returned to San Francisco, where he and Mink Stole starred in a number of small-budget plays at the Palace Theater as part of drag troupe The Cockettes, including Divine and Her Stimulating Studs, Divine Saves the World, Vice Palace, Journey to the Center of Uranus and The Heartbreak of Psoriasis. In 1974, Divine returned to Baltimore to film Waters's next motion picture, Female Trouble, in which he played the lead role. Divine was unable to appear in Waters's next feature, Desperate Living (John Waters, 1977), despite the fact that the role of Mole McHenry had been written for him. This was because he had returned to working in the theatre as the scheming prison matron Pauline in Tom Eyen's play Women Behind Bars and its sequel, The Neon Woman. While in London in 1978, Divine attended as the guest of honour at the fourth Alternative Miss World pageant, a 'mock' event founded by Andrew Logan in 1972 in which 'drag queens' – including men, women and children – competed for the prize. The event was filmed by director Richard Gayer, whose subsequent film, entitled Alternative Miss World, premiered at the Odeon in London's Leicester Square as well as featuring at the Cannes Film Festival, both events which were attended by Divine. Continuing his cinematic work, he starred in Polyester (John Waters, 1981) as Francine Fishpaw. Unlike earlier roles, Fishpaw was not a strong female but a meek and victimized woman who falls in love with her dream lover, Todd Tomorrow, played by Tab Hunter. The film was released in 'Odorama', accompanied by 'scratch 'n' sniff' cards for the audience to smell at key points in the film. In 1981, Divine embarked on a career in the disco industry by producing a number of Hi-NRG tracks, most of which were written by Bobby Orlando. He achieved international chart success with hits like 'You Think You're a Man', 'I'm So Beautiful', and 'Walk Like a Man', all of which were performed in drag. The next Divine film, Lust in the Dust (Paul Bartel, 1985), reunited him with Tab Hunter and was Divine's first film not directed by John Waters. Set in the Wild West during the nineteenth century, the film was a sex comedy that starred Divine as Rosie Velez, a promiscuous woman who works as a singer in saloons and competes for the love of Abel Wood (Tab Hunter) against another woman (Lainie Kazan). A parody of the Western Duel in the Sun (King Vidor, 1946), the film was a moderate critical success. Divine followed this production with a very different role, that of gay male gangster Hilly Blue in Trouble in Mind (Alan Rudolph, 1985), starring Kris Kristofferson and Keith Carradine. The script was written with Divine in mind. Although not a major character in the film, Divine had been eager to play the part because he wished to perform in more male roles and leave behind the stereotype of simply being a female impersonator. Reviews of the film were mixed, as were the evaluations of Divine's performance. The he reunited with John Waters for Hairspray (John Waters, 1988), which represented his breakthrough into mainstream cinema. Set in Baltimore during the 1960s, Hairspray revolved around self-proclaimed "pleasantly plump" teenager Tracy Turnblad (Ricki Lake) as she pursues stardom as a dancer on a local television show and rallies against racial segregation. As he had in Female Trouble, Divine took on two roles in the film, one of which was female and the other male. The first of these, Edna Turnblad, was Tracy's loving mother; the other was the racist head of the station that airs the Corny Collins show. Hairspray was only a moderate success upon its initial theatrical release, earning a modest gross of $8 million. However, it managed to attract a larger audience on home video in the early 1990s and became a cult classic. Divine's final film role was in the low-budget comedy horror Out of the Dark (Michael Schroeder, 1989), produced with the same crew as Lust in the Dust. Appearing in only one scene within the film, he played the character of Detective Langella, a foulmouthed policeman investigating the murders of a killer clown. Out of the Dark would be released the year after Divine's death. On 7 March 1988, three weeks after Hairspray was released nationwide, Divine was staying at the Regency Plaza Suites Hotel in Los Angeles. He was scheduled to film a guest appearance the following day as Uncle Otto on the Fox network's television series Married... with Children in the second season wrap-up episode. Shortly before midnight, he died in his sleep, at age 42, of an enlarged heart (according to Wikipdia or respiratory failure caused by sleep apnea (according to IMDb). It was probably a combination. Described by People magazine as the 'Drag Queen of the Century', Divine has remained a cult figure, particularly within the LGBT community, and has provided the inspiration for fictional characters, artworks, and songs. Various books and documentary films devoted to his life have also been produced, including Divine Trash (1998) and I Am Divine (2013), written by Divine's manager and friend Bernard Jay. Frances Milstead subsequently cowrote her own book about Divine, entitled My Son Divine (2001), with Kevin Heffernan and Steve Yeager. His mother's continued relationship with the gay community was later documented in a film Frances: A Mother Divine (Tim Dunn, Michael O'Quinn, 2010)
Sources: Wikipedia and IMDb.
Thanks Kathleen for reminding me about the short video that Amy Ellison put together on my work in 2010. Here Amy is gathering footage at another exhibition in the Carlson Tower Gallery of North Park University.
"Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all."
(Stanley Kubrick - American filmmaker, 1928-1999)
This is a portrait of Abdul Zainidi who is a Bruneian filmmaker, writer and actor.
Abdul studied his craft in Paris.
In 2013 he became the first Bruneian to be selected into the Cannes film festival short film corner with "TELUKI", a film he wrote. produced and shot which is a sort of Peter Piper dark fairy tale from Brunei.
In 2014 he made a full length feature film called "OSTRICH" which is Brunei's first low budget psychological horror film and it's prequel, a short film called "TELUKI", premiered at Alliance Francaise Brunei in February.
Abdul Zainidi has since been diverse in his film genre, branching out into expérimental, comedy,horror and even LGBT themed short films.
In 2013 he made Brunei's first short film about cross dressing called "GAGAK dan MERAK" and in 2014 he made a very controversial short film about the drag queen scene in Brunei, called "HARAM QUEEN".
His current theatrical projects include a short play about a parallel universe called "ANGGUR" which he collaborated with Alliance Francaise Brunei and was staged in February 2014.
This year apart from promoting his films he plans to shoot a horror film in Paris and a short play as well.
He is also the creator of the BRUNEI IN PARIS surreal webseries and working on a children’s book.
www.youtube.com/watch?v=ClLyoAOlY5c
www.youtube.com/watch?v=3jSYgAM-19A
www.youtube.com/watch?v=CXmP0nButWo
This picture belongs to a series where Abdul has been showing his acting skills through a wide palette of colourful and soulful expressions.
It was a very pleasant and creative photo shoot.
Join the photographer at www.facebook.com/laurent.goldstein.photography
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
"Loved and admired across the board, tousle-haired, straight talking Rita Banerji is a conservation filmmaker par excellence. Starting out as an apprentice under the legendary filmmaker Mike Pandey. Banerji struck out on her own to found Dusty Foot Productions. Her portfolio includes several path breaking projects in the capacity of director, producer, editor and cameraperson. She has spent days out on the field documenting communities and wildlife across India’s vast geography -- she has walked with the honey-hunting Kurumbas in the Nilgiris; gone to sea with the transient traditional fisherfolk of Jambudwip; documented the realities of turtle conservation and traditional fisheries in Orissa; lived with the women's seaweed collectors of Gulf of Mannar; filmed the ‘Save the Chiru’ Campaign and alternative livelihood options for the shahtoosh shawl weaver community in the high Himalaya, and more."
Dutch postcard by Filmmuseum, Amsterdam. Photo: Filmmuseum. Poster for Menschen am Sonntag/People on Sunday (Robert Siodmak, Edgar G. Ulmer, 1930) for which Billy Wilder contributed to the story.
Billy Wilder (1906-2002) was an American filmmaker of Jewish descent. He was a multiple Oscar winner and is considered one of the most important directors in American film history. His oeuvre comprises more than 60 films made over a period of over 50 years. He was nominated for an Oscar 21 times as a writer, producer and director and won six awards. At the 1961 Oscars, he won three awards as producer, screenwriter and director for the film The Apartment, a feat that has only been achieved by a total of nine directors to date.
Samuel 'Billy' Wilder was born in 1906 in Sucha, Austria-Hungary often referred to as the Austro-Hungarian Empire. Samuel was the son of Jewish parents, Max and Eugenia Wilder. His father Max Wilder ran the "City" hotel in Krakow as well as several railway station restaurants in the area. His mother always called her son "Billie". Samuel, therefore, called himself Billie Wilder. Later in the USA, he changed the spelling to Billy. In 1916, during the First World War, the family moved to Vienna fearing the approaching Russian army. In the capital, Billie became close friends with the later Hollywood director Fred Zinnemann, and they kept in touch throughout his life. Wilder began his career as a reporter for the Viennese tabloid Die Stunde (The Hour). When he interviewed the jazz musician Paul Whiteman in 1926, the latter was so enthusiastic about him that he invited him to come with him to Berlin to show him the city. A week later it turned out that Die Stunde was blackmailing Viennese businessmen and celebrities at the time with the threat of publishing unflattering articles about them. The affair became the biggest media scandal of the First Republic in Austria and Wilder decided to stay in Berlin and work for another newspaper, the city's largest tabloid. There he came in contact with the film industry. German Wikipedia: "when the director of a film company, Maxim Galitzenstein, had to escape in his pants from the neighbour's bedroom to Wilder's room, he couldn't help but buy Wilder's first screenplay." Billie was hired as a ghostwriter for well-known screenwriters such as Robert Liebmann and Franz Schulz. It was an additional source of income alongside his work as a reporter. In 1929, he contributed with Curt Siodmak, Robert Siodmak, Fred Zinnemann and Edgar G. Ulmer to the classic film Menschen am Sonntag/People on Sunday (Robert Siodmak, Edgar G. Ulmer, 1930). The film follows a group of young residents of Berlin on a summer's day during the interwar period. Hailed as a work of genius, it is a pivotal film in the development of German cinema. Together with Erich Kästner, Billie wrote the screenplay for Emil und die Detektive/Emil and the Detectives (Gerhard Lamprecht, 1931) the first film adaptation of Kästner's novel and generally considered to be the best film version. Wilder realised his Jewish ancestry would cause problems when the National Socialists would seize power. Immediately after Adolf Hitler came to power in 1933, Wilder moved to France. Years later, he would learn that his entire family had perished in concentration camps. In Paris, Billie earned his living as a ghostwriter for French screenwriters. Here he also directed his first film, the crime drama Mauvaise graine/Bad Seed (Billie Wilder, Alexander Esway, 1934) with Danielle Darrieux.
In 1934 Billie Wilder was able to enter the United States, thanks to a visitor's visa granted by Joe May. Although he spoke no English when he arrived in Hollywood, Wilder was a fast learner. Thanks to contacts such as Peter Lorre, with whom he shared an apartment. After his emigration, he became a naturalised American named Billy. He was signed by Paramount Pictures in 1936. His partnership with Charles Brackett started in 1938 and the team was responsible for writing some of Hollywood's classic comedies, including Ninotchka (Ernst Lubitsch, 1939) starring Greta Garbo and Ball of Fire (Howard Hawks, 1941) with Barbara Stanwyck and Gary Cooper. However, Wilder was dissatisfied with the constant changes to his scripts and wanted to take the reins himself. His partnership with Brackett expanded into a producer-director one in 1942. The comedy The Major and the Minor (1942) with Ginger Rogers was the first film he directed. His second film, Five Graves to Cairo (1943) with Franchot Tone, served as a propaganda film against the Nazi regime during World War II. Wilder quickly garnered success as a director. He had his breakthrough with the Film Noir Double Indemnity (1944), starring Fred McMurray and Barbara Stanwyck as a femme fatale. The film received seven Oscar nominations, including two for Wilder in the categories of Best Director and Best Adapted Screenplay. In 1945, Wilder was commissioned by the U.S. Army Signal Corps to condense the extensive material available from the American and British military about, among other things, the liberation of the Bergen-Belsen concentration camp into a short film, Death Mills/Die Todesmühlen (1945). The film was intended for German audiences to educate them about the atrocities committed by the Nazi regime. It became the only documentary film under his supervision. Not having seen his mother and stepfather since he went to Berlin in 1933 to make films, he joined American patrols through war-torn Europe during WWII. Through intense research, he learned they had been murdered in concentration camps and his grandmother had died in a Polish ghetto. Later, he usually declined to discuss this.
Billy Wilder received his first Oscar for the drama The Lost Weekend (1945), starring Ray Milland as an unsuccessful author with a drinking problem. The film dealt unusually realistically with the problems of an alcoholic. Shortly afterwards, Wilder went to Germany on behalf of the American government with the rank of colonel and directed the film A Foreign Affair (1948), starring Jean Arthur and Marlene Dietrich, which dealt critically with the Nazi past in occupied Germany. Among his other classics are the drama Sunset Boulevard (1950) starring William Holden and Gloria Swanson, the romance Sabrina (1954) starring Audrey Hepburn and Humphrey Bogart, and the comedies The Seven Years Itch (1955) and Some Like It Hot (1959), both starring Marilyn Monroe. He later had a long-standing partnership with screenwriter I.A.L. Diamond with whom he made such classic comedies as The Apartment (1961) and Irma La Douce (1963), both with Jack Lemmon and Shirley MacLaine. His work is characterised by cynicism, humour and an original storyline. He was fascinated by a wide variety of subjects and he often used the same actors, such as Jack Lemmon and Walter Matthau. Wilder's later works were unable to match the success of his heyday. Although he lost some of his brilliance as a filmmaker later in his life, many of his films are still considered classics. From the mid-1980s, he limited himself to consulting work for United Artists. In 2002, Billy Wilder died of pneumonia in Los Angeles, California at the age of 95. He had been struggling with health problems for some time, but still gave interviews. His grave is in Westwood Village Memorial Park Cemetery. Wilder was married to Judith Coppicus-Iribe from 1936 to 1947. They had a daughter together, Victoria (1939). In 1949 Wilder married the actress and singer Audrey Young (1922-2012).
Sources: Michael Brooke (IMDb), Wikipedia (Dutch and German) and IMDb.
And, please check out our blog European Film Star Postcards.
British postcard, no. FA 228. Mel Gibson in Lethal Weapon (Richard Donner, 1987).
American-Australian actor Mel Gibson (1956) became known worldwide thanks to the small-budgeted action film Mad Max (1979). He went on to star in such acclaimed films as Gallipoli (1981) and The Bounty (1984). In 1987, he became a superstar with the buddy cop action-comedy film series Lethal Weapon (1987-1998). As director of Braveheart (1995), he won both the Academy Award for best director and best film. Gibson also produced and directed The Passion of the Christ (2004) about the last phase of Jesus Christ's life on earth.
Mel Columcille Gerard Gibson was born in 1956 in Peekskill, New York, USA. He was the sixth of eleven children of Hutton Gibson, a railroad brakeman, and Anne Patricia (Reilly) Gibson. His mother was Irish, from County Longford, while his American-born father is of mostly Irish descent. His father moved the family from upstate New York to Sydney, New South Wales, Australia, in 1968 after winning as a contestant on the game show Jeopardy! The family settled in New South Wales, where Mel's paternal grandmother, contralto opera singer Eva Mylott, was born. After high school, Mel studied at the University of New South Wales in Sydney, performing at the National Institute of Dramatic Arts alongside future film thespians Judy Davis and Geoffrey Rush. Here, he starred opposite Judy Davis in a production of 'Romeo and Juliet'. After college, Mel had a few stints on stage and starred in TV shows. Eventually, he was chosen to star in the films Mad Max (George Miller, 1979) and Tim (Michael Pate, 1979), co-starring Piper Laurie. The small-budgeted Mad Max made him known worldwide, while Tim garnered him an award for Best Actor from the Australian Film Institute, the Australian equivalent to the Oscar. Gibson got a reputation as a serious, versatile actor. He was a part of the movement dubbed the 'Australian New Wave' by the press. They were a group of filmmakers and performers who emerged from Down Under at about the same time and found work in other parts of the world. Other members included actress Judy Davis and directors George Miller, Gillian Armstrong and Peter Weir.
Mel Gibson went on to star in the World War I drama Gallipoli (Peter Weir, 1981), which earned him a second award for Best Actor from the AFI. In 1980, he married Robyn Moore and had seven children. In 1984, Mel made his American debut in The Bounty (Roger Donaldson, 1984), which co-starred Anthony Hopkins. Then in 1987, Mel starred in what would become his signature series, Lethal Weapon (Richard Donner, 1987), in which he played Martin Riggs. In 1990, he took on the starring role in Hamlet (Franco Zeffirelli, 1990) with Glenn Close, which garnered him some critical praise. He also made the more endearing Forever Young (Steve Miner. 1992) with Jamie Lee Curtis and the somewhat disturbing The Man Without a Face (Mel Gibson, 1993). 1995 brought his most famous role as Sir William Wallace in Braveheart (Mel Gibson, 1995), for which he won two Oscars for Best Picture and Best Director. From there, he made such box office hits as Ransom (Ron Howard, 1996), Payback (Brian Helgeland, 1999) and The Patriot (Roland Emmerich, 2000). His later films include Signs (M. Night Shyamalan, 2002), and Edge of Darkness (Martin Campbell, 2010). For The Passion of the Christ (2004), which he directed, wrote and produced, he spent 25 million dollars of his own money. Back in 1992, he started doing research for the film that was not released until 2004. That year, he was the highest-paid celebrity with a reported $210,000,000 salary from his The Passion of the Christ (2004) profits, plus a potential $150,000,000 that is yet to be accounted for. The way Gibson portrayed the suffering of Christ caused however much controversy. He received further critical notice for his directorial work of the action-adventure film Apocalypto (2006), which is set in Mesoamerica during the early 16th century. He separated from his wife Robyn in June 2006. At the end of July 2006, Gibson was arrested for drunk driving in Malibu, California. During his arrest, he made derogatory comments about Jews and women. On 1 August 2006, he checked himself into a recovery program for alcohol abuse. He did three-year probation following the misdemeanour drunken driving arrest. Robyn finally filed for divorce in April 2009 but it wasn't finalised until December 2011, reportedly because it took them all that time to divide Gibson's estimated assets of $850 million. It is considered the biggest divorce payout in Hollywood history. In 2009, he made a first public appearance together with his girlfriend, Oksana Grigorieva who was then three months pregnant with his daughter Lucia. The couple split in 2010. In 2014, he started a relationship with Rosalind Ross with whom he had his ninth child.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
'The Astronot' feature film to be directed by Tim Cash of 'Far From Earth Films' (www.FFEFilms.com).
Photography by Dirk Behlau. All rights reserved.
"Squeezed Up | Tales of Polynesian Pop and Kustom Kulture" is the new roadmovie & coffee table book by filmmaker/photographer Dirk "The Pixeleye" Behlau the co-director and DoP of internationally acclaimed documentary film Flake & Flames - Kustom Kulture Film.
Ten Days, Nineteen Cities, Twenty-Eight Locations, Two Hot Rods, Five Guys, and a Race. Squeezed Up is an unforgettable road trip across Southern California, combining Hot Rodding, Polynesian Pop, Tiki culture, Tattoos, and Kustom Kulture into a stunning and crazy master-piece.
Experience every bump in the road with “The Wild Bunch,” as they journey to preserve the past, while meeting with Painters, Surfers, Tattoo Artists, Bartenders, Tiki Makers, Hot Rod Builders, and more.
Starring: „The Wild Bunch“
Stefan Immke, Matze Heiden, Thorsten Liesenberg, Andy Schmidt & Shane Bagnall
also starring in no particular order:
Robert Williams, Brian Bent, Tiki Tony, Dave Warshaw, Bamboo Ben, Fip Buchanan, Jay Dean, Jason Lee, Bobby Green, Shige, Matt “Tikiman” Willis, Marie Devilreux, Wild Tiger Woman, Spike Marble, Joe Arreguin, Adrian Eustaquio, David Arnson, Crazy Al, Michael Grider, Billy Shire, Dottie Deville & many more
Music by The Insect Surfers, Jason Lee, Brian Bent & The Hula Girls
Statements:
“Incredible film, visually and audibly delicious! The voyage of “the crew” makes you feel like your right there on the trip! This is the perfect meld of Tiki and Hotrod at its finest! Well done guys... Well done!”
"A stunning masterpiece!"
“Great show! Well put together and well worth watching! 10/10”
“Settled down on a wet Friday night with a few beers in Belfast to watch the road movie and the sun just rolled in! If you're a Hot Rod, Kustom and/or Tiki fan and especially if you live somewhere in the world that is gray and a long way from California this will take you to another world. Whenever it’s pissing down here I will stick on the movie and live the dream.”
“What an incredibly well shot film! I enjoyed the story and the visuals. I'd love to see more projects with the The Wild Bunch!”
"This is the kind of film you want to watch three times in a row to catch all the cool bits they throw in. So tripple up your popcorn and have fun!"
“Wow, holy crap was this a lot of fun to watch. What a great representation of Southern California!”
“A super cool and entertaining movie with the most beautiful shooting. Guaranteed Behlau color scheme not to mention the beautiful mellow velvety voice of Ms Jessica. If you enjoy Tiki, kustom kulture and hot rods, this is your movie!”
"Cool guys! Beautiful girls! Great soundtrack! Weird cars! ...and drinks drinks drinks!!! Don't forget to have a drink ready while watching this movie! Damn short 78 minutes! GRRREAT!!!"
“Dirk has done it again after the huge success of his first movie, Flake & Flames. This time he captures the inner circle of the Polynesian Pop, traditional hot rodding, & traditional pinup subcultures. It's a must see for fans of any of these (and who isn't?)”
An attempt to put Nick into the Drive poster using textured lights. I probably won't end up completing it.
EL CULTO DE LA MUERTE (THE CULT OF THE DEAD)
by Emily Esperanza • Please Donate kck.st/1oN6xJ3 Thank You
Photography by Dirk Behlau. All rights reserved.
"Squeezed Up | Tales of Polynesian Pop and Kustom Kulture" is the new roadmovie & coffee table book by filmmaker/photographer Dirk "The Pixeleye" Behlau the co-director and DoP of internationally acclaimed documentary film Flake & Flames - Kustom Kulture Film.
Ten Days, Nineteen Cities, Twenty-Eight Locations, Two Hot Rods, Five Guys, and a Race. Squeezed Up is an unforgettable road trip across Southern California, combining Hot Rodding, Polynesian Pop, Tiki culture, Tattoos, and Kustom Kulture into a stunning and crazy master-piece.
Experience every bump in the road with “The Wild Bunch,” as they journey to preserve the past, while meeting with Painters, Surfers, Tattoo Artists, Bartenders, Tiki Makers, Hot Rod Builders, and more.
Starring: „The Wild Bunch“
Stefan Immke, Matze Heiden, Thorsten Liesenberg, Andy Schmidt & Shane Bagnall
also starring in no particular order:
Robert Williams, Brian Bent, Tiki Tony, Dave Warshaw, Bamboo Ben, Fip Buchanan, Jay Dean, Jason Lee, Bobby Green, Shige, Matt “Tikiman” Willis, Marie Devilreux, Wild Tiger Woman, Spike Marble, Joe Arreguin, Adrian Eustaquio, David Arnson, Crazy Al, Michael Grider, Billy Shire, Dottie Deville & many more
Music by The Insect Surfers, Jason Lee, Brian Bent & The Hula Girls
Statements:
“Incredible film, visually and audibly delicious! The voyage of “the crew” makes you feel like your right there on the trip! This is the perfect meld of Tiki and Hotrod at its finest! Well done guys... Well done!”
"A stunning masterpiece!"
“Great show! Well put together and well worth watching! 10/10”
“Settled down on a wet Friday night with a few beers in Belfast to watch the road movie and the sun just rolled in! If you're a Hot Rod, Kustom and/or Tiki fan and especially if you live somewhere in the world that is gray and a long way from California this will take you to another world. Whenever it’s pissing down here I will stick on the movie and live the dream.”
“What an incredibly well shot film! I enjoyed the story and the visuals. I'd love to see more projects with the The Wild Bunch!”
"This is the kind of film you want to watch three times in a row to catch all the cool bits they throw in. So tripple up your popcorn and have fun!"
“Wow, holy crap was this a lot of fun to watch. What a great representation of Southern California!”
“A super cool and entertaining movie with the most beautiful shooting. Guaranteed Behlau color scheme not to mention the beautiful mellow velvety voice of Ms Jessica. If you enjoy Tiki, kustom kulture and hot rods, this is your movie!”
"Cool guys! Beautiful girls! Great soundtrack! Weird cars! ...and drinks drinks drinks!!! Don't forget to have a drink ready while watching this movie! Damn short 78 minutes! GRRREAT!!!"
“Dirk has done it again after the huge success of his first movie, Flake & Flames. This time he captures the inner circle of the Polynesian Pop, traditional hot rodding, & traditional pinup subcultures. It's a must see for fans of any of these (and who isn't?)”