Jamie Reid (born 1947) is a British artist and anarchist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK. His best known works include the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles "Anarchy in the UK", "God Save The Queen", "Pretty Vacant" and "Holidays in the Sun".
He was educated at John Ruskin Grammar School in Croydon. Reid produced a series of screen prints in 1997, the twentieth anniversary of the birth of punk rock. Reid has also produced artwork for the world music fusion band Afro Celt Sound System.
Jamie Reid created the ransom-note look used with the Sex Pistols graphics while he was designing Suburban Press, a radical political magazine he ran for five years.
Since 2004, Reid has been exhibiting and publishing prints with the Aquarium Gallery.
In May 2007, a career retrospective for Reid, entitled "X Marks the Spot", was held in Shoreditch, London.
Punk visual art is artwork which often graces punk rock album covers, flyers for punk shows, and punk zines. It is characterised by deliberate violation, such as the use of letters cut out from newspapers and magazines, a device previously associated with kidnap and ransom notes, so the sender's handwriting was not revealed. Much of the earlier artwork was in black and white, because it was distributed in punk zines reproduced at copy shops, but when colour was used in more expensive productions it was often characterised by being high key, such as the use of fluorescent pink and yellow contrasted with black on the cover of the Sex Pistols' Never Mind the Bollocks album designed by Jamie Reid.
Los Angeles artist Mark Vallen has said:
“
Punk had a unique and complex aesthetic. It was steeped in shock value and revered what was considered ugly. The whole look of punk was designed to disturb and disrupt the happy complacency of the wider society. Outside of punk's torn and safety pinned anti-fashion statements, this impulse to outrage was never more apparent than on punk album covers.[1]
Punk visual art can include anything from crudely scribbled letters to shockingly jarring figures drawn with sharp points everywhere. Often images and figures are cut and pasted from magazines to create a scene and the colors are often two tone and deeply contrasting. The main aesthetic of punk art seems to be to either shock, create a sense of empathy or revulsion, make a grander point with an acidic or sarcastic wit, poke fun at politics, political factions, or social factions, or create a humorous feel (though generally this is more prevalent in less serious, more pop/punky bands).
The Situationists influenced the look of punk art. Early punk also played a hand in the revival of stencil art, spearheaded by Crass. Usually straightforward with clear messages, punk art is often concerned with political issues such as social injustice and economic disparity. The use of images of suffering to shock and create feelings of empathy in the viewer is common. Alternatively, there may be images of self-violation, selfishness, stupidity, or apathy to provoke contempt in the viewer. Symbols of the establishment such as the Union Jack can be employed; the British Queen was depicted with a safety pin through her cheek. It can also subvert more mundane societal norms, as in the satirical depictions of suburbia by Howard Arkley. Punk art often utilizes collage, exemplified by the art of Jamie Reid and Winston Smith. John Holmstrom was a punk cartoonist who created much artwork for the Ramones and Punk Magazine. The Stuckism art movement had their origin in punk, and titled their first major show The Stuckists Punk Victorian at the Walker Art Gallery during the 2004 Liverpool Biennial. Charles Thomson, co-founder of the group, described punk as "a major breakthrough" in his art. [2]
imagine o roteiro de um filme de 3 minutos ambientado numa ilha mitica povoada por crianças fugitivas que moram nas ruinas de antigos castelos ou em cabanas-totens & ninhos construidos com detritos- uma mistura de animação, efeitos especiais, computação grafica & video- editado de uma forma compacta, como um comercial de fast-food...
... mas insolito & nu, penas & ossos, tendas abotoadas com critais, cachorros negros, sangue de pombos- vislumbres de membros cor de ambar enrolados em lençois- rostos, cobertos por mascaras cheias de estrelas, beijando dobras da pele- piratas androginos, faces abandonadas de colombinas dormindo em altas flores brancas- piadas sujas de se mijar de rir, lagartos de estimação lambendo leite derramado- pessoas nuas dançando break- banheiras vitorianas com patos de borracha & pintos cor de rosa- Alice viajando no po...
... punk reggae atonal para gamelão, sintetizadores, saxofones & baterias- boggies eletricos cantados por um etereo coro de crianças- antologicas canções anrquistas, um misto de Hafiz & Pancho Villa, Li Po & Bakunin, Kabir & Tzara- chame-o de "CHAOS - The Rock Video".
... mas insolito & nu, penas & ossos, tendas abotoadas com critais, cachorros negros, sangue de pombos- vislumbres de membros cor de ambar enrolados em lençois- rostos, cobertos por mascaras cheias de estrelas, beijando dobras da pele- piratas androginos, faces abandonadas de colombinas dormindo em altas flores brancas- piadas sujas de se mijar de rir, lagartos de estimação lambendo leite derramado- pessoas nuas dançando break- banheiras vitorianas com patos de borracha & pintos cor de rosa- Alice viajando no po...
... punk reggae atonal para gamelão, sintetizadores, saxofones & baterias- boggies eletricos cantados por um etereo coro de crianças- antologicas canções anrquistas, um misto de Hafiz & Pancho Villa, Li Po & Bakunin, Kabir & Tzara- chame-o de "CHAOS - The Rock Video".
Para acalmar mais uma vez os fãs, a Warner Bros divulgou uma ótima notícia através do CEO da rede exibidora IMAX: O filme terá 25 minutos de cenas em IMAX 3-D, divididas entre a abertura e o clímax.
To create the illusion of three-dimensional depth, the IMAX 3D process uses two camera lenses to represent the left and right eyes. The two lenses are separated by an interocular distance of 64mm/2.5", the average distance between a human's eyes. By recording on two separate rolls of film for the left and right eyes, and then projecting them simultaneously, viewers can be tricked into seeing a 3D image on a 2D screen. The IMAX 3D camera is cumbersome, weighing over 113kg/250lbs. This makes it difficult to film on-location documentaries.
There are two methods to creating the 3D illusion in the theatre. The first involves polarization. During projection, the left and right eye images are polarized perpendicular to one another as they are projected onto the IMAX screen. By wearing special eyeglasses with lenses polarized in their respective directions to match the projection, the left eye image can be viewed only by the left eye since the polarization of the left lens will cancel out that of the right eye projection, and the right eye image can be viewed only by the right eye since the polarization of the right lens will cancel out that of the left eye projection. Another method for 3D projection involves LCD shutter glasses. These glasses contain LCD panels which are synchronised to the projector which alternates rapidly at 96 frames per second between displaying the left and right images which are momentarily viewed by the appropriate eye by allowing that eye's panel to become transparent while the other remains opaque. While the panels within these active-shutter 3D glasses alternate at 96 frames per second, the actual film is displayed at 24 frames per second.
One particular problem that 3D movies face is that the 3D effect does not extend past the boundaries of the physical screen. It is for this reason that the screen must be large enough to cover as much of the viewer's peripheral vision as possible. Another problem with IMAX 3D movies is due to an inherent difference between our eyes and the film format. Because of the large negative, depth of field is dramatically reduced, causing an often distracting depiction of the scene. Computer-generated imagery films do not have this problem as they are able to control the depth of field in the images to allow everything to be in focus. While some may argue that this is less artistic than regular 2D films that purposefully employ shallow depth of field for aesthetic reasons, IMAX screens take up more of the viewer's vision than regular 2D films, and therefore the viewer can be disoriented by seeing images that are out of focus. The biggest 3D IMAX screen is located in Melbourne, Australia. [5] The largest 3D IMAX screen in Asia is the San Miguel-Coca Cola IMAX Theatre and is located at the SM Mall of Asia.
Improvements in the sound systems have included a 3D sound system and the elliptical pattern speaker clusters.
To create the illusion of three-dimensional depth, the IMAX 3D process uses two camera lenses to represent the left and right eyes. The two lenses are separated by an interocular distance of 64mm/2.5", the average distance between a human's eyes. By recording on two separate rolls of film for the left and right eyes, and then projecting them simultaneously, viewers can be tricked into seeing a 3D image on a 2D screen. The IMAX 3D camera is cumbersome, weighing over 113kg/250lbs. This makes it difficult to film on-location documentaries.
There are two methods to creating the 3D illusion in the theatre. The first involves polarization. During projection, the left and right eye images are polarized perpendicular to one another as they are projected onto the IMAX screen. By wearing special eyeglasses with lenses polarized in their respective directions to match the projection, the left eye image can be viewed only by the left eye since the polarization of the left lens will cancel out that of the right eye projection, and the right eye image can be viewed only by the right eye since the polarization of the right lens will cancel out that of the left eye projection. Another method for 3D projection involves LCD shutter glasses. These glasses contain LCD panels which are synchronised to the projector which alternates rapidly at 96 frames per second between displaying the left and right images which are momentarily viewed by the appropriate eye by allowing that eye's panel to become transparent while the other remains opaque. While the panels within these active-shutter 3D glasses alternate at 96 frames per second, the actual film is displayed at 24 frames per second.
One particular problem that 3D movies face is that the 3D effect does not extend past the boundaries of the physical screen. It is for this reason that the screen must be large enough to cover as much of the viewer's peripheral vision as possible. Another problem with IMAX 3D movies is due to an inherent difference between our eyes and the film format. Because of the large negative, depth of field is dramatically reduced, causing an often distracting depiction of the scene. Computer-generated imagery films do not have this problem as they are able to control the depth of field in the images to allow everything to be in focus. While some may argue that this is less artistic than regular 2D films that purposefully employ shallow depth of field for aesthetic reasons, IMAX screens take up more of the viewer's vision than regular 2D films, and therefore the viewer can be disoriented by seeing images that are out of focus. The biggest 3D IMAX screen is located in Melbourne, Australia. [5] The largest 3D IMAX screen in Asia is the San Miguel-Coca Cola IMAX Theatre and is located at the SM Mall of Asia.
Improvements in the sound systems have included a 3D sound system and the elliptical pattern speaker clusters.
Hideshi Hino (日野日出志 Hino Hideshi, born April 19, 1946) is a manga artist who specializes in horror stories. His comics include Hell Baby, Hino Horrors, and Panorama of Hell. He also wrote and directed two of the Guineapig horror movies which were based on his manga: Flower of Flesh and Blood, which he also starred in, and Mermaid in a Manhole.
Hideshi Hino was born in China to Japanese immigrant workers in Manchuria just when Japan surrendered at the end of World War II and the vengeful anti-Japanese movement in China. His family had no choice but to escape to Japan before being lynched by Chinese civilians, so his town gathered up everybody and started to make their move to the remaining internationally governed harbours.
Hino has claimed that he was nearly killed on route to Japan by his fellow townspeople during the evacuation from China. Some of his manga have been based on his life and its events; for example his grandfather was a real life Yakuza and his father used to be a pig farmer with a spider tattoo on his back. Hino has depicted these in his manga many times (as in Panorama of Hell).
Although originally eyeing a job in the film industry, the works of manga legends Shigeru Sugiura and Yoshiharu Tsuge inspired the young Hino to express himself in the medium of manga instead. He originally began in doujinshi, and his first professional work was published in Osamu Tezuka's experimental manga magazine COM in 1967. With appearances in Garo and the serialized "Hideshi Hino's Shocking Theater" coming out in 1971, his bizarre world of deviant killers, grotesque beasts, and decaying corpses was firmly established.
He even found a large following in the world of shojo manga. Works such as Dead Little Girl and Ghost School were prominently featured in shojo magazines, frightening female readers across Japan.
One of Hino's hobbies is maintaining Japanese swords. He is also a practitioner of Budo.
Flower of Flesh and Blood
The second video, Za ginipiggu 2: Chiniku no hana (1985) is said to be based on a snuff film sent to the director Hideshi Hino by a crazed fan. In it, a man dressed as a samurai drugs a woman and proceeds to cut her apart, and finally adds her body parts to an extensive collection. The snuff film rumor is just an urban legend. The movie was in fact based on a manga about a florist who kills women and uses their dismembered parts as the seed of his beautiful flower arrangements. Most of this element of the story is cut out for the making of Guinea Pig due to the low budget and need of shock value. In fact, the actor playing the killer is the creator of the 1970s manga from which the story is derived.
After viewing a portion of this film, actor Charlie Sheen was convinced the murder depicted was genuine and contacted the MPAA, who then contacted the FBI. FBI agent Dan Codling informed them that the FBI and the Japanese authorities were already investigating the film makers, who were forced to prove that the special effects were indeed fake [1][2] [3] (similar to what Italian film director Ruggero Deodato had to do with his film Cannibal Holocaust). The band Skinny Puppy wrote the song "The Mourn" after discovering the video and believing it authentic. When they later learned it was a fake they incorporated clips of it into their live stage show.
Za ginipiggu 2: Chiniku no hana at the Internet Movie Database
The special effects of the movie were explained in the 1986 documentary "Making of Guinea Pig".
Meikingu obu Za ginipiggu at the Internet Movie Database
"Flower of Flesh and Blood" was reportedly serial killer Tsutomu Miyazaki's favorite film from the series and reportedly served as one of the primary "blueprints" for his crimes.
This movie has been rated as the 5th Sickest movie in the World[4]
Mermaid in a Manhole
Based on a manga by Hideshi Hino and directed by the mangaka himself, the next installment of the Guineapig series, Za ginipiggu 4: Manhoru no naka no ningyo (1988), is about an artist who is trying to cope with the recent death of his wife. One day while being in the sewers beneath the streets of Okinawa, he comes across a mermaid that he had met before when he was a kid, when the sewers used to be a big river. He sits down to paint her, but soon she starts crying in agony, and the painter notices that she has some kind of sores on her body. She has been stuck in the sewers for a long time and she must have been infected by the environment down there. The artist takes her back to his house, and after a brief period of time, the mermaid develops lacerations and begins to bleed. The artist uses the blood and pus from the wounds to paint her portrait, but as he paints, her condition worsens and she dies.
Hideshi Hino was born in China to Japanese immigrant workers in Manchuria just when Japan surrendered at the end of World War II and the vengeful anti-Japanese movement in China. His family had no choice but to escape to Japan before being lynched by Chinese civilians, so his town gathered up everybody and started to make their move to the remaining internationally governed harbours.
Hino has claimed that he was nearly killed on route to Japan by his fellow townspeople during the evacuation from China. Some of his manga have been based on his life and its events; for example his grandfather was a real life Yakuza and his father used to be a pig farmer with a spider tattoo on his back. Hino has depicted these in his manga many times (as in Panorama of Hell).
Although originally eyeing a job in the film industry, the works of manga legends Shigeru Sugiura and Yoshiharu Tsuge inspired the young Hino to express himself in the medium of manga instead. He originally began in doujinshi, and his first professional work was published in Osamu Tezuka's experimental manga magazine COM in 1967. With appearances in Garo and the serialized "Hideshi Hino's Shocking Theater" coming out in 1971, his bizarre world of deviant killers, grotesque beasts, and decaying corpses was firmly established.
He even found a large following in the world of shojo manga. Works such as Dead Little Girl and Ghost School were prominently featured in shojo magazines, frightening female readers across Japan.
One of Hino's hobbies is maintaining Japanese swords. He is also a practitioner of Budo.
Flower of Flesh and Blood
The second video, Za ginipiggu 2: Chiniku no hana (1985) is said to be based on a snuff film sent to the director Hideshi Hino by a crazed fan. In it, a man dressed as a samurai drugs a woman and proceeds to cut her apart, and finally adds her body parts to an extensive collection. The snuff film rumor is just an urban legend. The movie was in fact based on a manga about a florist who kills women and uses their dismembered parts as the seed of his beautiful flower arrangements. Most of this element of the story is cut out for the making of Guinea Pig due to the low budget and need of shock value. In fact, the actor playing the killer is the creator of the 1970s manga from which the story is derived.
After viewing a portion of this film, actor Charlie Sheen was convinced the murder depicted was genuine and contacted the MPAA, who then contacted the FBI. FBI agent Dan Codling informed them that the FBI and the Japanese authorities were already investigating the film makers, who were forced to prove that the special effects were indeed fake [1][2] [3] (similar to what Italian film director Ruggero Deodato had to do with his film Cannibal Holocaust). The band Skinny Puppy wrote the song "The Mourn" after discovering the video and believing it authentic. When they later learned it was a fake they incorporated clips of it into their live stage show.
Za ginipiggu 2: Chiniku no hana at the Internet Movie Database
The special effects of the movie were explained in the 1986 documentary "Making of Guinea Pig".
Meikingu obu Za ginipiggu at the Internet Movie Database
"Flower of Flesh and Blood" was reportedly serial killer Tsutomu Miyazaki's favorite film from the series and reportedly served as one of the primary "blueprints" for his crimes.
This movie has been rated as the 5th Sickest movie in the World[4]
Mermaid in a Manhole
Based on a manga by Hideshi Hino and directed by the mangaka himself, the next installment of the Guineapig series, Za ginipiggu 4: Manhoru no naka no ningyo (1988), is about an artist who is trying to cope with the recent death of his wife. One day while being in the sewers beneath the streets of Okinawa, he comes across a mermaid that he had met before when he was a kid, when the sewers used to be a big river. He sits down to paint her, but soon she starts crying in agony, and the painter notices that she has some kind of sores on her body. She has been stuck in the sewers for a long time and she must have been infected by the environment down there. The artist takes her back to his house, and after a brief period of time, the mermaid develops lacerations and begins to bleed. The artist uses the blood and pus from the wounds to paint her portrait, but as he paints, her condition worsens and she dies.
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