Tag-Archive for » visual arts «

Landseaire airborne yacht

James Kightly, journalist and author of the Vintage Aeroplane Writer, shows off the glamorous postwar conversion of Consolidated PBY-5A 34045 (civil registry N69043) to a Landseaire flying yacht.  His informative and droll image captions are not to be missed.

You’ll forgive me for marvelling at the aesthetics of film photography, flying boats and pleasant company, of course.

(Loomis Dean / LIFE magazine.  February 2nd, 1950)

Mid-cabin sleeping area. (Loomis Dean / LIFE magazine. February 2nd, 1950)

Sunbathing on one of the Pratt & Whitney R-1830-92 Twin Wasp radial engines. (Loomis Dean / LIFE magazine. February 2nd, 1950)

Lounge/bar in one of what was formerly one of the waist gunner blisters. (Loomis Dean / LIFE magazine. February 2nd, 1950)

On-board shower. (Loomis Dean / LIFE magazine. February 2nd, 1950)

Moored for port visit. Note nose gunner blister has been removed; bow is more streamlined than typical wartime PBY. (Loomis Dean / LIFE magazine. February 2nd, 1950)

At the saloon table, playing cards. (Loomis Dean / LIFE magazine. February 2nd, 1950)

For a fuller description of the amenities aboard these hedonistic craft, see Maurice F. Allward’s article “Airborne Yachts—Luxury Conversions of  Wartime Catalinas” in the July 1953 issue of Flight International.  Also see the full LIFE magazine archive of images of this craft, if you desire more.

La Belle Époque

A selection of Edwardian couture designed and tailored by Matti’s Millinery & Costumers.  See the whole Flickr set for more.

IMG_1791, originally uploaded by MattiOnline.

Tan Edw. Opera, originally uploaded by MattiOnline.

WWl Suit, originally uploaded by MattiOnline.

Edwardian Gray Suit, originally uploaded by MattiOnline.

Purple Halter Suit, originally uploaded by MattiOnline.

MMC Pink Victorian 013, originally uploaded by MattiOnline.

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Old London street scenes (1903)

The British Film Institute shares some great footage of Edwardian London over a century ago.

I get a kick out of seeing the traffic congestion (horse-drawn, not automobile) near the 3-minute mark. It should remind us that in the centuries-long life of cities, familiar problems occur, vanish and recur as our technology changes.

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Balar Hissar, Kabul, c. 1879

A selection from the British Library’s stunning collection of images from the Second Afghan War (1878-1880). The Bala Hissar (Persian for “high fortress”) is a 5th century fort on the Kuh-e-Sherdarwaza (Mountain of the Lion’s Gate). The walls are 20 feet high and 12 feet thick, and it is actually two distinct facilities; the lower fort contained stables, barracks and the former royal palaces; the upper fort was home to an armoury and a jail.

The Bala Hissar will no doubt be familiar to readers of George MacDonald Fraser’s Flashman novel, as it figures prominently in the events leading up to Major-General William Elphinstone’s disastrous retreat from Kabul.

Burke, John. Panoramic view looking along the walls of the Bala Hissar Fort in Kabul, Afghanistan, with Shah Shahid Gate in foreground. (The British Library)

Bengal Sappers and Miners, Indian Army. Bala Hissar from Sher Denwaza. (The British Library)

Bengal Sappers and Miners, Indian Army. Upper Bala Hissar, looking down onto the palace and gardens, with the Kabul Valley beyond. (The British Library)

Burke, John. Looking along the wall of the mighty Bala Hissar fort towards the burnt-out Residency in Kabul. (The British Library)

Burke, John. Burnt-out ruins of the Residency at the Bala Hissar fort in Kabul. The British Resident, Major Sir Pierre Louis Napoleon Cavagnari, KCB, CSI, was killed here along with his staff—and 71 defending officers and enlisted men—on September 3rd, 1879 by mutinous Afghan troops. (The British Library)

Burke, John. Upper Bala Hissar from gate above Residency, Kabul. (The British Library)

Burke, John. Upper Bala Hissar from west. (The British Library)

Burke, John. South face, Upper Bala Hissar. (The British Library)

Burke, John. The Diwan-i-Am or audience hall of the Amir at Kabul, Afghanistan, with the fortress of Bala Hissar in the background. (The British Library)

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Iron Maiden: The Trooper (1983) & Charge of the Light Brigade (1936)

Moving from Afghanistan to Crimea now.  It’s a fact: cavalry charges are metal.

The passing of the Colours at 2:00-2:12 is sheer epic awesomeness.

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The light that burns twice as bright burns for half as long

I viewed Blade Runner last night, which was probably a mistake.  Whenever I see this film, I become congisant of Time as predator, stalking me; like the Star Trek villain Dr. Tolian Soren, I am increasingly aware that sooner or later, Time will hunt me down and make the kill.  When I first saw this film, I was sixteen years old, watching a heavily-used VHS tape in a friend’s basement on a tiny television.  Today I am more than twice as old as I was then; VHS and non-HD televisions have all but disappeared from the consumer landscape; the edge-of-farmland community I grew up in on north of the city has exploded into highly-developed urban sprawl; and despite the wonders of Facebook and modern social media, I have no idea what became of that particular friend.

It is not death I fear so much as the unconscious passage of time; we are all being carried along on a current whose swiftness is not always evident, forever leaving behind sights and sounds we do not realise will never be experienced again.  Some of the people, places and things we see today we will never see again hereafter; or if we do see them, they too will have been altered irrevocably by the passage of time.

Blade Runner itself is one of these things; it is no longer the film you have seen in theatres or VHS; every iteration since (laserdisc, Director’s Cut, Final Cut) has been subtly altered.  Deckard’s voiceover/narration is no longer present, for example; other scenes have been added, and some—present for theatrical release—have been deleted.  Ridley Scott’s penultimate work is still, on the whole, a thoroughly engaging and immersive film; visual futurist Syd Mead’s iconic designs are every bit as intriguing and alluring as they once were.  But there is something insidious and unsettling about the film itself slowly morphing and changing as the years go by.

Some of us enjoyed Blade Runner as a detective film that happens to be set in the future; we may have enjoyed the nods to film noir such as Deckard’s mid-movie narration—even if the bolted-on ending was unnecessary.  Others might enjoy it as a future movie featuring a detective as a main character, and are happier without the heavy leaning toward noir conventions.  My own sense is that the film’s own narrative precludes hasty changes to its themes or characters.  Deckard’s boss, Bryant, clearly has memories of working with him in the distant past; yet director Scott’s latest tweaks are meant to make the audience think that perhaps “blade runner” Rick Deckard is himself a replicant.  This then raises the question of how Bryant could have memories of working with replicant Deckard, who presumably has a finite four-year life span.  Does that make Bryant a replicant, too?  Or is he merely lying?  What would be the point?

It is worth remembering that Blade Runner rose from forgotten mediocrity to mass popularity in ten years as a video rental—and all of it based on the pacing and story of its theatrical release form.  Ridley Scott’s constant tweaking of his creation in later years is a strong clue that perhaps he does not understand what made his film great in the first place.  And he is not alone; the same could be said for many directors who have befouled their own creations with unnecessary adjustments.  Amadeus, Apocalypse Now, Donnie Darko, The Exorcist, The Last Emperor, and the Star Wars original trilogy are all films that have been cheapened by “Director’s Cut” editions.  Perhaps the only director’s cut I have seen that actually improved a film’s story and pacing was the extra 17 minutes in James Cameron’s Aliens—but that is the rare exception.

There is one little touch in Blade Runner that really sold me; when we see Gaff’s spinner ascend (with Deckard aboard), Gaff puts on a helmet and mic, and communicates with local air traffic control.  He doesn’t do crazy things like engage in an airborne car chase, or make sudden, erratic movements with other spinners/aircraft in close proximity.  It’s all calm, cool and collected; a lot like air traffic control today.  Contrast this with the cityscape and speeder/flying car scenes in Attack of the Clones, an inferior realisation by any estimation.

As I mentioned earlier, even with the changes, I still enjoyed Blade Runner.  It is one of the most visually compelling and completely realised science fiction worlds to ever grace the silver screen.  I just wish directors would quit fussing with their successful products decades after their original release.  Logically speaking, it is not the successful films which require tweaking; they already have a winning formula.  The ones that don’t do well, on the other hand, are the ones that need to have their stories, editing or pacing re-examined.

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Chew, if only you could see what I’ve seen with your eyes!

A selection of images tagged “Blade Runner” on Flickr.

Blade Runner II, originally uploaded by SBA73.

Blade Runner, originally uploaded by Heaven`s Gate (John).

New York or Blade Runner?, originally uploaded by Joseph Price.

Blade Runner, originally uploaded by cuellar.

Meet Pris, originally uploaded by naeros.

Characters from Blade Runner at Comic-Con, San Diego, California, originally uploaded by congochris.

Blade Runner Press Event – 47, originally uploaded by spencerhooks.

In the last photo: Mad props to Joe Turkel for sporting the tinted, oversized glasses—much like his character Dr. Eldon Tyrell.  And that goes double for Sean Young, who did her best to emulate the hairstyle and wardrobe of Rachael.  Trying to look like a character you played twenty-eight years ago isn’t easy.

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Blade Runner (1982): Spinner Ascent

Change the 360p to 480p for better resolution, if your connection can handle it.

The background air traffic control chatter is something my 16-year-old self missed, but my adult self is impressed by; details count.

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Egypt, late 19th/early 20th century

A look into Egypt’s more recent past, sourced from Flickr.

Shepheard’s Hotel In Cairo Between 1885 – 1886, originally uploaded by Tulipe Noire.

Oxford – Entrance to the Suez Canal at Port Said 1885, originally uploaded by Tulipe Noire.

Oxford – Royal Cairo Opera House, originally uploaded by Tulipe Noire.

Asyut City in 1918, originally uploaded by Tulipe Noire.

Princess Fawzia in Cairo airport, originally uploaded by Kodak Agfa.

Heliopolis Tram At The Front Of Heliopolis Palace Hotel 1930’s, originally uploaded by Tulipe Noire.

Terrace Of Heliopolis Palace Hotel In 1930’s – Got Colored, originally uploaded by Tulipe Noire.

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Ancient Egypt (1938)

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