Daily Archives: May 20, 2015

Collage 07 (!)

4 part animation.





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Collage 04 analysis (con.)

(continued from)

Hucka D.:

Pope and Kennedy are found together in New York. That’s the last 2 names of the main protagonist and antagonist of “Love and Monsters”.


Elton and Victor being the first names, yet.

Hucka D.:

Of course Kennedy is going to bring in a lot of resonance with John F. Kennedy, your assassinated president. (pause) Then finally Victor appears in Pope County, Arkansas. (checking) Along with Gabriel and Solo pointing to Peter Gabriel’s solo career and perhaps “Solsbery Hill” in particular. Gabriel is very close to Victor. Is it still a population place? Lettuce check. (checks) It appears not, but it’s listed as a historical population center in GNIRPS.


Gabriel’s successful solo career allowed him to become a Sunklands variant, Hucka D.

Hucka D.:

However fascinating this is, we must move away from it and back to Collage 04 in its two animated aspects…



We’ve dealt with Blue Skies Mr. and Elton Pope who adores his anagram of “Mr. Blue Skies”, the hit Electric Light Orchestra single. In fact, he loves the band period. ELO.






Blue Skies Mr.: a figure Baker Bloch and The King saw at Temple Farm.


We’re not moving very far away from Blue Skies Mr. Let’s tackle Greenhead. Wait.. let’s look at the central couple of the 1st part, or Sophie and Howl from Howl’s Moving Castle. This would be from a still at the very end of the movie, where they are happily reunited, seemingly for good. Sophie has cool, white hair — a Whitehead. Howl’s is a beautiful raven black in contrast, but originally he hated this color. Anne Shirley in contrast strongly *desired* this color of hair, wanting to change from her natural “carrot coloured” red hair. Howl’s hair also changed to red, to his disgust, after Sophie rearranged the potions in his bathroom. It quickly turned black, however. *Both* were very upset at hair colours, Hucka D. And this is coded into, let’s see Carrcass+5 and Carrcass+6. I love counting those off.

Hucka D.:

Then Greenhead — Anne Shirley with temporary green hair — appears behind a Second Life green terrain just in both parts of the animation. This is Greenhead, a peak and a head at the same time. We take a peek. This would be where I’m from — my people: Greenhead (in Greater Whitehead Crossing).


Cool, Hucka D. But were you a *bee* there? Or a bird?

Hucka D.:

I ain’t telling yet (!).


Nice. Then in the middle, The IT Crowd’s Moss shows up again in Part 2, replacing Sophie and Howl. He’s defending the red door, once more, as he did in the episode “Red Door”, the 4th of Season One. Both he and Roy tell boss Jen to stay away from the Red Door. Goth Richard Avenal is behind the door. He lives there in a hidden room. This is you…

Hucka D.:

This is you in the further. Future, I meant. Mean. Kind of. It’s you and not you at once. You are Richmond, true. You will live/not live behind the Red Door. This is Red Head, of course, and the cabin. Cabin in Disguise.


You can tell me about this cabin now. I meant — mean — Can you tell me about this cabin now?

Hucka D. (flatly):


(continued in)



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The Shining Backwards and Forwards audiovisual synch experiment revisited

Jon recently asked about this…


The Shining Forwards and Backwards experiment.

Some material or quotes that stood out for me among the links.


“Working in concert with the presentation of ‘Room 237,’ the geniuses behind Fantastic Fest decided to screen ‘The Shning Forwards and Backwards,’ a homebrewed mind trip similar to ‘Dark Side of the Rainbow.’ Two projected images appear at the same time – the whole of ‘The Shining’ in traditional and reverse direction. Though they have the same illumination, there is audio only for “forward,” giving that image dominance, so that the “reverse” frequently works in wonderful counterpoint. Program notes from “the world’s greatest palindromest’ John Fell Ryan were offered for those in the audience “less chaos-oriented.””


I don’t think Kubrick purposely created the Shining to run against itself backwards to forwards. But he certainly had a strong “behind the curtain” presence in this one concerning seeming errors in film continuity. There are literally *hundreds* of these going on in The Shining. One of my favorites is when Scatman Cruthers says “story room” instead of “storage room” when entering a food locker of the Overlook Hotel’s kitchen. I created an imaginary or fake band of that name for fictional fun and tomfoolery. Here’s another head scratcher: double dooknobs where they definitely shouldn’t be.



There are all kinds of doors to follow through here:


“People get the wrong idea when they ask if Pink Floyd meant for Dark Side of the Moon to be synced with The Wizard of Oz. The mysterious thing is that they do sync– they sync inside your head. I have heard complaints about The Shining Forwards and Backwards experiment– for example, that it isn’t conclusive, because it doesn’t take into account the deleted hospital scene or the shorter cut shown internationally. But the most important aspect of superimposition isn’t author’s intention;it’s watching something familiar in a new way– or ways, seeing two points of view simultaneously and continuously. It’s a dance, beautiful and social.”


“Dark Side of the Rainbow for the 21st century, THE SHINING FORWARDS AND BACKWARDS is a hallucinatory palindromic mindfuck, an accidental profundity resulting from a literal reading of MSTRMD’s comment that “The Shining is a film meant to be watched both forwards and backwards.””

This was an interesting juxtaposition. I had recently researched the Swannanoa Mansion and its former inhabitants Walter and Lao Russell on this blog as well. Synchronicity re synchronicity!:


“Shiny Happy People” also appears in Carrcass-10.

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