Yesterday, at the age of 87, Herschell Gordon Lewis passed away.
This man remains an adorable, unique paradox. Clumsy director yet a crafty old devil, completely foreign to the elegance of images, who only ever made movies to scrape out a living. A man who unwillingly changed the history of cinema.
His intuition — even slightly accidental, according to the legend — was to understand B-movies had the task of filling, unveiling mainstream cinema’s ellipses: the key was to try and put inside the frame everything that, for moral or conventional reasons, was usually left off-screen.
A first example were nudies, those little flicks featuring ridiculous plots (if any), only meant to show some buttocks and breasts; a kind of rudimental sexploitation, not even aiming to be erotic. H. G. Lewis was the first to realize there was a second taboo besides nudity that was never being shown in “serious” movies, and on which he could try to cash in: violence, or better, its effects. The obscene view of blood, torn flesh, exposed guts.
In 1960 Hitchcock, in order to get Psycho through censorship, had to promise he would change the editing of the shower scene, because someone in the examination board thought he had seen a frame where the knife blade penetrated Janet Leigh’s skin. It doesn’t matter that Hitch never really re-edited the sequence, but presented it again a month later with no actual modification (and this time nobody saw anything outrageous): the story is nonetheless emblematic of Hays Code‘s impositions at the time.
Three years later, Lewis’ Blood Feast came out. An awfully bad movie, poorly directed and even more awkwardly acted. But its opening sequence was a bomb by itself: on the scene, a woman was stabbed in the eye, then the killer proceeded to dismember her in full details… all this, in a bathtub.
In your face, Sir Alfred.
Of course today even Lewis’ most hardcore scenes, heirs to the butcheries of Grand Guignol, seem laughable on the account of their naivety. It’s even hard to imagine splatter films were once a true genre, before gore became a language.
Explicit violence is today no more than an additional color in the director’s palette, an available option to knowingly choose among others: we find it anywhere, from crime stories to sci-fi, even in comedies. As blood has entered the cinematic lexicon, it is now a well-thought-out element, pondered and carefully weighed, sometimes aestheticised to the extremes of mannerism (I’m looking at you, Quentin).
But in order to get to this freedom, the gore genre had to be relegated for a long time to second and third-rank movies. To those bad, dirty, ugly films which couldn’t show less concern for the sociology of violence, or its symbolic meanings. Which, for that very same reason, were damn exciting in their own right.
“Blood Feast is like a Walt Whitman poem“, Lewis loved to repeat. “It’s no good, but it was the first of its type“.
Today, with the death of its godfather, we may declare the splatter genre finally filed and historicized.
But still, any time we are shocked by some brutal killing in the latest Game of Thrones episode, we should spare a thankful thought to this man, and that bucket of cheap offal he purchased just to make a bloody film.
The fourth book in the Bizzarro Bazar Collection, published by Logos, is finally here.
While the first three books deal with those sacred places in Italy where a physical contact with the dead is still possible, this new work focuses on another kind of “temple” for human remains: the anatomical museum. A temple meant to celebrate the progress of knowledge, the functioning and the fabrica, the structure of the body — the investigation of our own substance.
The Morgagni Museum in Padova, which you will be able to explore thanks to Carlo Vannini‘s stunning photography, is not devoted to anatomy itself, but rather to anatomical pathology.
Forget the usual internal architectures of organs, bones and tissues: here the flesh has gone insane. In these specimens, dried, wet or tannized following Lodovico Brunetti’s method, the unconceivable vitality of disease becomes the real protagonist.
A true biological archive of illness, the collection of the Morgagni Museum is really a time machine allowing us to observe deformities and pathologies which are now eradicated; before the display cases and cabinets we gaze upon the countless, excruciating ways our bodies can fail.
A place of inestimable value for the amount of history it contains, that is the history of the victims, of those who fell along the path of discovery, as much as of those men who took on fighting the disease, the pioneers of medical science, the tale of their committment and persistence. Among its treasures are many extraordinary intersections between anatomy and art.
The path I undertook for His Anatomical Majesty was particularly intense on an emotional level, also on the account of some personal reasons; when I began working on the book, more than two years ago, the disease — which up until then had remained an abstract concept — had just reached me in all its destabilizing force. This is why the Museum, and my writing, became for me an initiatory voyage into the mysteries of the flesh, through its astonishments and uncertainties.
The subtitle’s oxymoron, that obscure splendour, is the most concise expression I could find to sum up the dual state of mind I lived in during my study of the collection.
Those limbs marked by suffering, those still expressive faces through the amber formaldehyde, those impossible fantasies of enraged cells: all this led me to confront the idea of an ambivalent disease. On one hand we are used to demonize sickness; but, with much the same surprise that comes with learning that biblical Satan is really a dialectical “adversary”, we might be amazed to find that disease is never just an enemy. Its value resides in the necessary questions it adresses. I therefore gave myself in to the enchantment of its terrible beauty, to the dizziness of its open meaning. I am sure the same fruitful uneasiness I felt is the unavoidable reaction for anyone crossing the threshold of this museum.
The book, created in strict collaboration with the University of Padova, is enriched by museology and history notes by Alberto Zanatta (anthropologist and curator of the Museum), Fabio Zampieri (history of medicine researcher), Maurizio Rippa Bonati (history of medicine associated professor) and Gaetano Thiene (anatomical pathology professor).
The time has finally come to unveil the project I have been spending a good part of this year on.
Everything started with a place, a curious secret nestled in the heart of Rome, a stone’s throw away from the Circo Massimo. Very likely, my favorite haven in the whole city: the wunderkammer Mirabilia, a cabinet of wonders recreating the philosophy and taste of sixteenth-century collections, from which modern museums evolved.
Taxidermied giraffes and lions, high-profile artworks and rarities from all over the world were gathered here after many years of research and adventures by the gallery owner, Giano Del Bufalo, a young collector I previously wrote about.
This baroque studio, where beauty marries the macabre and the wonderful, has become for me a special spot in which to withdraw and to dream, especially after a hard day.
Given these premises, it was just a matter of time before the idea of a collaboration between Bizzarro Bazar and Mirabilia was born.
And now we’re getting there.
On October 9, within this gallery’s perfect setting, the Academy of Enchantment will open its doors.
What Giano and I have designed is an alternative cultural center, unprecedented in the Italian scenario and tailor-made for the lovers of the unusual.
The Academy will host a series of meetings with scientists, writers, artists and scholars who devoted their lives to the exploration of reality’s strangest facets: they range from mummification specialists to magic books researchers, from pathologists to gothic literature experts, from sex historians to some of the most original contemporary artists.
You can easily guess how much this project is close to my heart, as it represents a physical transposition of many years of work on this blog. But the privilege of planning its ‘bursting into’ the real world has been accorded only by the friendly willingness of a whole number of kindred spirits I have met over the years thanks to Bizzarro Bazar.
I was surprised and actually a bit intimidated by the enthusiasm shown by these extraordinary people, whom I hold in the highest regard: University professors, filmmakers, illusionists and collectors of oddities all warmly responded to my call for action, which can be summarized by the ambitious objective of “cultivating the vertigo of amazement”.
I address a similar appeal to this blog’s followers: spread the word, share the news and participate to the events if you can. It will be a unique occasion to listen and discuss, to meet these exceptional lecturers in person, to train your dream muscles… but above all it will be an opportunity to find each other.
This is indeed how we like to think of the Academy of Enchantment: as a frontier outpost, where the large family of wonder pioneers and enthusiasts can finally meet; where itineraries and discoveries can intersect; and from which, eventually, everyone will be able to head off towards new explorations.
In order to attain the meetings you will be requested to join the Mirabilia cultural association; on the Accademia dell’Incanto website you will soon find all about the next events and application methods. The Accademia dell’Incanto is also on Facebook, Twitter and Instagram.
“Keep the World Weird!”
Imagine living in a country whose government decided to block any scientific discovery coming from abroad.
Even worse: imagine living in this hypothetical country, at the exact time when the most radical revolution of human knowledge in history is taking place in the world, a major transformation bound to change the way Man looks at the Universe — of which you ignore every detail, since they are prohibited by law.
This was probably a scientist’s nightmare in Japan during sakoku, the protectionist policy adopted by the Tokugawa shogunate. Enacted around 1640, officially to stop the advance of Christianity after the Shimabara rebellion, this line of severe restrictions was actually devised to control commerce: in particular, what the Shogun did was to deny access and trade above all to the Portuguese and the Spanish, who were considered dangerous because of their colonial and missionary ambitions in the New World.
China, Korea and the Netherlands were granted the opportunity of buying and selling. Being the only Europeans who could carry on trading, in the enclave of Dejima, the Dutch established with the Land of the Rising Sun an important economic and cultural relationship which lasted for more than two centuries, until the sakoku policy was terminated officially in 1866.
As we were saying, Japan ran the risk of being cut off from scientific progress, which had begun just a century before, in that fateful year of our Lord 1543 when Copernicus published De revolutionibus orbium coelestium and Vesalius his Fabrica — two books which in one fell swoop dismantled everything that was believed was above and inside Man.
If the nightmare we previously mentioned never became true, it was because of the Rangaku movement, a group of researchers who set out to carefully study everything the Dutch brought to Japan.
Although for the first eighty years of “isolation” the majority of Western books were banned, ideas kept on circulating and little by little this quarantine of culture loosened up: the Japanese were allowed to translate some fundamental works on optics, chemistry, geography, mechanical and medical sciences.
In the first half of the XIX Century there were several Rangaku schools, translations of Western books were quite widespread and the interaction between japanese and foreign scientists was much more common.
Medical studies were recognized since the beginning as a field in which cultural exchange was essential.
In Japan at that time, physicians followed the Chinese tradition, based on religious/spiritual views of the body, where precise anatomical knowledge was not seen as necessary. Human dissections were prohibited, according to the principles of Confucianism, and those doctors who really wanted to know the inside of the human body had to infer any information by dissecting otters, dogs and monkeys.
The very first autopsy, on an executed criminal, took place in 1754 and was conducted by Yamawaki Tōyō. The dissection itself was carried out by an assistant, because it was still a taboo for higher classes to touch human remains.
All of a sudden, it appeared that the inside of a human body was much more similar to the Dutch illustrations than to those of traditional Chinese medicine books. The account of the autopsy signed by Yamawaki caused the uproar of the scientific community; in it, he strongly supported an empyrical approach, an unconceivable position at the time:
Theories may be overturned, but how can real material things deceive? When theories are esteemed over reality, even a man of great widsom cannot fail to err. When material things are investigated and theories are based on that, even a man of common intelligence can perform well.
In 1758, one of Yamawaki’s students, Kōan Kuriyama, conducted the second dissection in Japanese history, and was also the first physician to cut up a human body with his own hands, without resorting to an assistant.
Sugita Genpaku was another doctor who was shocked to find out that the illustrations of Western “barbarians” were more accurate than the usual Chinese diagrams. In his memoir Rangaku Koto Hajime (“Beginning of Dutch Studies”, 1869), he recounts the time when, together with other physicians, he dissected the body of a woman called Aochababa, hanged in Kyoto in the Kozukappara district (now Aeakawa) in 1771. Before starting the autopsy, they examined a Western anatomy book, the Ontleedkundige Tafelen by Johann Adam Kulmus:
Ryotaku opened the book and explained according to what he had learned in Nagasaki the various organs such as the lung called “long” in Dutch, the heart called “hart,” the stomach called “maag” and the spleen called “milt.” They looked so different from the pictures in the Chinese anatomical books that many of us felt rather dubious of their truths before we should actually observe the real organs. […] Comparing the things we saw with the pictures in the Dutch book Ryotaku and I had with us, we were amazed at their perfect agreement. There was no such divisions either as the six lobes and two auricles of the lungs or the three left lobes and two right lobes of the liver mentioned in old medical books. Also, the positions and the forms of the intestines and the stomach were very different from the traditional descriptions. [Even the bones] were nothing like those described in the old books, but were exactly as represented in the Dutch book. We were completely amazed.
Genpaku spent the following three years translating the Dutch textbook. The task had to be carried out without any knowledge of the language, nor dictionaries available for consultation, by means of constant interpretations, deductions, and discussions with other doctors who had been in contact with the Europeans in Nagasaki. Genpaku’s colossal effort, similar to an actual decryption, was eventually published in 1774.
The Kaitai Shinsho was the first Japanese illustrated book of modern anatomy.
As Chinese traditional medicine gradually began to pale in comparison to the effectiveness and precision of knowledge coming from Europe, in Japan the practice of dissection became widespread.
This was the context for the real masterpiece of the time, the Kaibo Zonshishu (1819), a scroll containing 83 anatomical illustrations created by Doctor Yasukazu Minagaki.
Minagaki, born in Kyoto in 1785, attended public school and became a physician at a clinic in his hometown; but he also was a better and more gifted artist than his predecessors, so he decided to paint in a meticulous way the results of some forty autopsies he had witnessed. The scroll was part of a correspondence between Minagaki and the Dutch physician Philipp Franz von Siebold, who praised the admirable drawings of his Japanese collegue.
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There are several online articles on the Kaibo Zonshishu, and almost all of them claim Minagaki was obviously distant from the classicist European iconography of the écorchés — those flayed models showing their guts while standing in plastic, Greek poses. The cadavers dissected here, on the other hand, are depicted with stark realism, blood trickling down their mouth, their faces distorted in a grimace of agony.
But this idea is not entirely correct.
Already since the XVI Century, in Europe, the écorchés paired with illustrations of an often troubling realism: one just needs to look at the dissection of the head by Johann Dryander, pre-Vesalian even, but very similar to the one by Minagaki, or at the cruel anatomical plates by Dutch artist Bidloo in his Anatomia Hvmani Corporis (1685), or again at the corpses of pregnant women by William Hunter, which caused some controversy in 1774.
These Western predecessors inspired Minagaki, like they had already influenced the Kaitai Shinsho. One clear example:
The representation of tendons in the Kaibo Zonshishu…
…was inspired by this plate from the Kaitai Shinsho, which in turn…
…was taken from this illustration by Govand Bidloo (Ontleding des menschelyken lichaams, Amsterdam, 1690).
Anyway, aside from aesthethic considerations, the Kaibo Zonshishu was probably the most accurate and vividly realistic autoptic compendium ever painted in the Edo period (so much so that it was declared a national treasure in 2003).
When finally the borders were open, thanks to the translation work and cultural diffusion operated by the Rangaku community, Japan was able to quickly keep pace with the rest of the world.
And to become, in less than a hundred years, one of the leading countries in cutting-edge technology.
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You can take a look at the Kaitai Shinshohere, and read the incredible story of its translation here. On this page you can find several other beautiful pics on the evolution of anatomical illustration in Japan.
(Thanks, Marco!)
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