Madelaine’s cabinet of curiosities contained a collection of wonders to both delight and horrify. One day, a mysterious item in her cabinet captures her attention. A darkly-tinged fantasy that explores the erotic-grotesque.
Directed, animated, and edited by Jennifer Linton
Musical score by Zev Farber
ABOUT THIS FILM
Wunderkammer is a 2D stop-motion animated film shot under camera using unarmatured, replacement paper cutouts. This traditional animation medium involves hundreds of individual drawings that are drawn on paper, scanned, printed, hand-coloured and cutout. These cutouts are swapped in frame-to-frame to create smooth, complex movements not possible with articulated paper puppets. The resulting film has all the hand-drawn charm and personality of traditional cel animation, plus the lovely textures and materiality of stop-motion.
Many thanks to the kind generosity of my Indiegogo contributors!
Copyright ©2018 Papercut Pictures. All rights reserved.
Hello, my darklings. Thought I’d create a work-in-progress blog post for my ongoing Wunderkammer animation project. Above you can see a video of the final render for scene 8, in which the contents of the titular wunderkammer are revealed. All of the images in this scene were drawn by hand, scanned and output as large-format greyscale prints. These prints are then coloured with coloured pencils and, in some cases, cut out. Once the backgrounds and cutouts are complete, I shoot them under-camera using stop-motion techniques. Below are a couple of quick cellphone photos of this work process.
Work-in-progress shots of my latest paper cutout animation project, entitled Wunderkammer.* Coming in 2018.
SYNOPSIS: Madelaine’s cabinet of curiosities contains wonders strange, frightening, and erotic.
*A wunderkammer, also known as a “cabinet of curiosities”, is a place in which a collection of curiosities and rarities is exhibited.
Hello, my darklings. Sorry for the prolonged absence from this blog, as I’ve begun working on my new animation project entitled Wunderkammer. This project sees the return of Madelaine, the mysterious Victorian lady from my previous short films La Petite Mort (2013) and An Unfortunate Incident Involving Her Hat (2012). As always, curious happenings befall Madelaine. In the latter film, Madelaine became the victim of a very bizarre wardrobe malfunction, and in the former, she engaged in a romantic — but ultimately tragic — tryst with an octopus. Similarly, in Wunderkammer her uncanny adventures continue.
For those not familiar with the term, a wunderkammer was a Renaissance-era predecessor of the modern museum collection. Below is a definition copied from the Tate Modern web site:
Wunderkammer or curiosity cabinets were collections of rare, valuable, historically important or unusual objects, which generally were compiled by a single person, normally a scholar or nobleman, for study and/or entertainment. […]Exotic natural objects, art, treasures and diverse items of clothing or tools from distant lands and cultures were all sought for the wunderkammer. Particularly highly prized were unusual and rare items which crossed or blurred the lines between animal, vegetable and mineral. Examples of these were corals and fossils and above all else objects such as narwhal tusks which were thought to be the horns of unicorns and were considered to be magical.
— excerpt from “History of the wunderkammern (cabinet of curiosities).”
I include here some pencil sketches of the various items and curios found inside the wunderkammer of my film (subject to change as the project evolves, of course).
This is a repost from OCTOBER 28, 2011.
Halloween is one of the oldest holidays still celebrated in modern times, and can be traced back to the Druids, a Celtic culture in Ireland, Britain and Northern Europe. Its roots lay in the feast of Samhain (pronounced SA-WIN), which was annually held on October 31st to honor the dead. Much like Christmas, the pagan traditions of Samhain were later co-opted by the Christian church and replaced by All Saints Day (Nov. 1) as a means to align the Christian feast with the already well-established pagan festival. According to Wikipedia, “The word Halloween is first attested in the 16th century and represents a Scottish variant of the fuller All-Hallows-Even (“evening”), that is, the night before All Hallows Day.” Hence, we have the modern day Hallowe’en.
In keeping with its pagan origins, a belief arose that during Halloween the barrier between the realms of the living and the dead are at their most permeable, allowing for dead spirits to enter our world. A corollary of this belief is the traditional Scottish practice of Halloween-night divination. Though little known these days, the practice of various forms of “divination games” during Halloween was wildly popular in the late 19th-century and early 20th-century, a popularity commemorated in the divination-themed Halloween greeting cards above. One of the most popular of these was a form of scrying or mirror divination, in which an unmarried woman was instructed to sit before a mirror in a darkened room on Halloween night. Purportedly, if she gazed long enough, she would see a vision of her future husband reflected in the mirror. If, however, she was to die unmarried, a skull would appear instead — which just seems incredibly creepy. A common thread exists between this Halloween practice and the Bloody Mary game, in which the participants dare each other to look into a mirror and repeat Mary’s name three times, thus possibly summoning the folkloric witch.
We all have an idea in our minds of what constitutes the “Artist”: a tormented, misunderstood outsider, compelled by an almost otherworldly drive to create. We recall images like those of Vincent van Gogh’s famous self-portrait with bandaged head, concealing the wound that resulted from severing his own left ear, or we envision the distorted figure of Edvard Munch’s magnum opus The Scream, it’s creator checking himself into a private sanitarium later in life after hearing voices. While these biographical details of Van Gogh and Munch are true and verifiable, this notion of the Artist as a mad, tormented genius is a cultural construction originating from the 19th-century Romantics, as described by scholar Pamela Fletcher in her Victorian Studies text Rebels and Martyrs: The Image of the Artist in the Nineteenth Century:
[Michael] Wilson’s title essay traces the myth of the artist as a unique genius, alienated from society both by his own commitment to the demands of his art and a philistine public’s inability to value or understand it. Wilson rightly notes that the idea of the artist as a melancholic genius dates back to the Renaissance, but he locates the full flowering of the myth in the Romantic era. — excerpt from “Rebels and Martyrs: The Image of the Artist in the Nineteenth Century”, by Pamela M. Fletcher.
The Romantic era (approx. 1800-1850) reconfigured the artist as a tragic hero who, in the best case scenario, is a darkly brooding and cynical Byronic hero or, in the worst case, is a half-lunatic hermit who lives on the very fringe of society. Though most-assuredly a myth, this notion of the artist as a crazed — and possibly even dangerous — outsider has persisted even into the modern era.
The genre of horror is fed by our psychological and cultural fears. One of our collective fears is our fear of the Other: those individuals who, whether through a transgression of gender, physical deformity, or mental illness, deviate from the “norm” in terms of their appearance and/or behaviour. (See my previous series of posts on Deviance, gender and the ‘aberrant female’ in horror, which addresses the topic of women as the Other). These types of individuals tend to make the majority anxious, and therefore they are ideal to occupy the role of the “monster” in horror fiction. Given the Romantic notion of the “mad artist”, it’s hardly surprising that artists have served in this role of the feared Other in horror cinema. Below are a few examples of horror films that have featured visual artists in such roles.
1. Blind Beast (1969, dir. Yasuzô Masumura) is a masterpiece of ero guro nansensu from Japan that is based on a story by Edogawa Rampo. A blind sculptor kidnaps a beautiful young model and takes her back to his home to act as his model and muse. He and his mother live in a warehouse which he’s transformed into a surreal sculptural installation of giant body parts, dedicated mainly to the female form. At first, the model only wants to escape from this bizarre scene, but eventually she succumbs to his strange vision and even surpasses his obsession. In true ero guro style, they develop a curiously erotic, sadomasochistic relationship that eventually leads to the crazy, horrific and over-the-top violent finale. Below is the entire film posted on Youtube, though regrettably it lacks English subtitles. Worth watching, if only for its beautiful and bizarre visuals — such as the two protagonists cavorting atop a giant (foam rubber) sculpture of a reclining female nude.
2. As an artist myself, I can fully understand the urge to find the exactly correct hue for a project. On many occasions I’ve paid a princely sum for tubes of Cadmium Red paint because, well, no other pigment is as brilliantly, intensely red (the toxicity of the metal cadmium notwithstanding). Hershell Gordon Lewis, the notorious exploitation-film director who singlehandedly created the splatter-gore film, used this notion of the dangerously obsessive artist to splatter his signature gore in Color Me Blood Red (1965).
Artist Adam Sorge struggles to find critical and commercial success when he accidently discovers that blood smeared across his canvas provides his paintings with the vibrancy they previously lacked. This discovery provides the rationale for Sorge (and Lewis) to bloodily dispatch a couple of bikini-clad beauties in this lesser offering from Lewis’s “Blood Trilogy”. Low-budget and poorly acted (Lewis often relied on non-actors), what this film lacks in craft, it makes up for with its campy, rough-hewn B-movie charm. You can watch the entire, uncut film on Youtube. Considering that it was made in 1965, it truly is subversively gory.
3. Cauldron of Blood (1970) is a terrible film. That said, I kinda have a soft spot for it. Also known under the title Blind Man’s Bluff, it was cobbled together over a few years, repurposing footage from different films. One reason for this cinematic mess is the fact that its star Boris Karloff was in very poor health, and couldn’t appear in a number of scenes (he died in 1969, before its release). Thus, its creators were obliged to pad the film with previously shot footage. Karloff appears frail and sadly diminished — but even a diminished Karloff is still pretty good. Here’s the short synopsis from IMDB: “A blind sculptor works on his magnum opus unaware that the skeletons he has been using for armatures are the remains of the victims of his evil wife and that he is the next target”.
Again, the entire film is available on Youtube (one assumes distribution companies don’t care about these older films). My advice is to forward to the 1:27 mark and watch the final showdown between Karloff and his gloriously evil wife, where she meets her comeuppance in a vat of acid.
Dollhouse enthusiasts are frequently known for their slavish devotion to detail. Countless hours will be spent in replicating a miniature world, whether idealized or dystopian, in exacting detail. The nineteen dollhouse rooms created by Frances Glessner Lee, however, take this attention to detail to startling — and brilliantly macabre — heights.
Frances Glessner Lee was a Chicago heiress with a curious obsession. During the 1940’s, Lee was a volunteer police officer with a honorary captain’s rank, and she possessed a passion for forensic science. At her New Hampshire estate, she installed a workshop to fashion crime scene dioramas, which she dubbed her “Nutshells”. These dollhouse-sized rooms were designed as classroom tools to instruct detectives in crime scene investigation. Lee founded Harvard’s department of legal medicine, the first program in the nation for forensic pathology.
According to a New York Times article on Lee, the Nutshells now reside in the office of the Maryland state examiner in Baltimore, where they are still used in seminars. Each diorama is packed with small-scale clues such as blood-splatters, a pillowcase smeared with lipstick, and a bullet embedded in a wall.
Corinne May Botz published a book of photographs entitled The Nutshell Studies of Unexplained Death, that beautifully capture the details of Lee’s crime scene “nutshells”. Below are some images from Botz’s book.
Was Jayne Mansfield a satanist? That, amongst other burning questions, is what drove the most traffic to my blog over 2013. View all the details in the 2013 annual report for this blog.
[For those of you not familiar with my blog, I don’t typically write on such heady topics as “was Jayne Mansfield a satanist?”. My blog features examples of my artwork from the past several years, as well as my musings about visual art and horror cinema, with a focus on art and film that evokes the bizarre, macabre and/or uncanny.]
Here’s an excerpt:
The concert hall at the Sydney Opera House holds 2,700 people. This blog was viewed about 47,000 times in 2013. If it were a concert at Sydney Opera House, it would take about 17 sold-out performances for that many people to see it.