New Film Extraordinary Tales Animates Edgar Poe Stories, with Narrations by Guillermo Del Toro, Christopher Lee & More

Edgar Allan Poe cre­at­ed a body of work that will seem­ing­ly nev­er go out of style, espe­cial­ly around Hal­loween time. Not only do his sto­ries and poems still inspire dread in the 21st cen­tu­ry, but so also do the many hun­dreds of Poe retellings and adap­ta­tions cre­at­ed in the 166 years since the author’s mys­te­ri­ous death. But, we might ask, after so many film adap­ta­tions from so many clas­sic hor­ror actors and direc­tors, whether we need yet anoth­er one? You’ll have to make up your own mind, but if you’re any­thing like me, you’ll watch the trail­er above for Lion King and Aladdin ani­ma­tor Raul Garcia’s Poe anthol­o­gy Extra­or­di­nary Tales and answer “Yes!” and “More please!” And you can see more, in the clips below from Garcia’s incred­i­ble-look­ing film, hit­ting the­aters on Octo­ber 23rd.

One rea­son the new treat­ment of the five sto­ries Gar­cia ani­mates seems to work so well is that they draw on the tal­ents of actors and direc­tors who have pre­vi­ous­ly deliv­ered clas­sic Poe retellings. For exam­ple, “The Fall of the House of Ush­er,” above, is nar­rat­ed by the late, great Christo­pher Lee, who joins hor­ror leg­end Vin­cent Price as one of the great­est read­ers of Poe’s “The Raven.” The voice-over is Lee’s last role, and it’s hard to think of a more fit­ting final act for the ven­er­a­ble hor­ror maven. (Lee was also at the time record­ing “a heavy-met­al-rock-opera based on Charlemagne’s life”—one of many met­al albums he record­ed.)

Gar­cia has cre­at­ed a unique look for each fea­turette. For “Ush­er,” he tells Car­los Aguilar at Indiewire, “the idea was for the char­ac­ters to look as if they were carved out of wood, like if they were fig­ures that belonged to Czech ani­ma­tor Jirí Trn­ka.” Just hear­ing Lee above intone the phrase “an unex­pect­ed sense of insuf­fer­able gloom” is enough to con­vince me I need to see the rest of this film.

Just above, we have a clip from a much less famous Poe sto­ry, “The Facts in the Case of M. Valde­mar,” a chill­ing detec­tive tale about a man mes­mer­ized in artic­u­lo mor­tis—at the moment of death. Nar­rat­ed by Eng­lish actor Julian Sands, who has made his own appear­ances in sev­er­al hor­ror films, the ani­ma­tion style comes direct­ly out of clas­sic E.C. hor­ror comics like Tales From the Crypt, which drew many an idea from Poe, bas­ing one sto­ry “The Liv­ing Death!” on “M. Valde­mar.” The “mauve, yel­low and mossy green com­ic-book pan­els,” writes a New York Times review, “prove that you don’t need fan­cy tech­nol­o­gy to achieve a third dimen­sion.”

You’ll notice the unmis­tak­able vis­age of Vin­cent Price in the char­ac­ter of the mes­merist, and you’ll like­ly know of Price’s own turn as Poe him­self in An Evening with Edgar Allan Poe. Price also starred in Roger Cor­man’s many Poe adap­ta­tions—begin­ning with House of Ush­er—and Gar­cia has tapped the leg­endary Cor­man’s voice for Extra­or­di­nary Tales, as well as con­tem­po­rary hor­ror direc­tor extra­or­di­naire Guiller­mo Del Toro. And if this weren’t hor­ror roy­al­ty enough, Garcia’s ani­mat­ed take on “The Tell-Tale Heart” fea­tures none oth­er than Bela Lugosi, in an archival read­ing of the sto­ry the Drac­u­la actor made some­time before his death in 1956. Read more about how Gar­cia found the Lugosi audio and con­ceived of Extra­or­di­nary Tales in his inter­view here.

Relat­ed Con­tent:

Watch Vin­cent Price Turn Into Edgar Allan Poe & Read Four Clas­sic Poe Sto­ries (1970)

Down­load The Com­plete Works of Edgar Allan Poe: Macabre Sto­ries as Free eBooks & Audio Books

Clas­sics Sto­ries by Edgar Allan Poe Nar­rat­ed by James Mason in a 1953 Oscar-Nom­i­nat­ed Ani­ma­tion & 1958 Dec­ca Album

The Mys­tery of Edgar Allan Poe’s Death: 19 The­o­ries on What Caused the Poet’s Demise 166 Years Ago Today

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

55 Covers of Vintage Philosophy, Psychology & Science Books Come to Life in a Short Animation

We all know that toys come alive at night, but what about mid-cen­tu­ry vin­tage paper­back cov­ers, such as you might find in the psy­chol­o­gy or phi­los­o­phy sec­tions of a dim­ly-lit used book­store?

Watch­ing 55 min­i­mal­ist cov­ers from graph­ic and motion design­er Hen­ning M. Led­er­er’s 2200 title-strong col­lec­tion begin to spin, drift, and seethe in the short ani­ma­tion above, I got the impres­sion that they were the ones dic­tat­ing the terms. Or per­haps Led­er­er is the ves­sel through which the inten­tions of the orig­i­nal design­ers—Rudolph de Harak and John + Mary Con­don to name a few—flow. Cov­ers is not an act of reimag­i­na­tion or crowd-pleas­ing irrev­er­ence, but rather one log­i­cal motion, ele­gant­ly applied.

Habitués of used book­stores may find their usu­al brows­ing habits slight­ly altered by the hyp­not­ic results.

Led­er­er makes no bones about judg­ing books by their cov­ers. Strong graph­ics, not con­tent, are the pri­ma­ry deter­min­ing fac­tor as to which titles he acquires. The state­ly geo­met­rics set in motion here are relics from anoth­er age, but the unclut­tered abstracts so favored by 60s era pub­lish­ers are not the only genre to catch his eye.

Shame Drifter, Dusky Desire, and Sin­sur­ance are some of the decid­ed­ly non-min­i­mal­ist titles spic­ing up his collection’s online gallery. After all of those arrows, angles, and spheres, Led­er­er might have craved ani­mat­ing some­thing with a bit more…personality.

Relat­ed Con­tent:

Free Online Phi­los­o­phy Cours­es

Artist Ani­mates Famous Book Cov­ers in an Ele­gant, Under­stat­ed Way

Illus­tra­tions for a Chi­nese Lord of the Rings in a Stun­ning “Glass Paint­ing Style”

Loli­ta Book Cov­ers: 100+ Designs From 37 Coun­tries (Plus Nabokov’s Favorite Design)

83 Years of Great Gats­by Book Cov­er Designs: A Pho­to Gallery

135 Free Phi­los­o­phy eBooks

Free Online Psy­chol­o­gy Cours­es

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her post-dig­i­tal, pre apoc­a­lyp­tic dark com­e­dy, Fawn­book, is now play­ing in New York City. Fol­low her @AyunHalliday

A Fittingly Strange Animation of What’s Going On Inside Charles Manson’s Mind

In 1968, Charles Man­son lis­tened to The Bea­t­les’ White Album and came away think­ing that Amer­i­ca was on the verge of an apoc­a­lyp­tic race war between whites and blacks. As Man­son imag­ined it, the race war would be trig­gered by a shock­ing, chaot­ic event called “Hel­ter Skel­ter” — a named bor­rowed from a song on the White Album. And, like most mega­lo­ma­ni­acs, Man­son put him­self at the cen­ter of the dra­ma. In the sum­mer of 1969, Man­son had mem­bers of his cult com­mit a series of infa­mous mur­ders in South­ern Cal­i­for­nia, hop­ing that African-Amer­i­cans would be blamed and the race war would begin. Instead, a lengthy police inves­ti­ga­tion led to Man­son’s arrest on Decem­ber 2, 1969 and his con­vic­tion soon there­after, mak­ing him then, and now, one of Amer­i­ca’s noto­ri­ous inmates.

Through the 1980s, Man­son, even though behind bars, remained a very pub­lic fig­ure, giv­ing high pro­file inter­views to Tom Sny­der, Char­lie Rose, and Ger­al­do Rivera. But then, he began to fade from view, for what­ev­er rea­sons. For the past 20 years, we haven’t heard much from him. Until this came along. Above, you can watch Leah Shore’s ani­ma­tion of nev­er-before-heard phone con­ver­sa­tions between Charles Man­son and Mar­lin Maryn­ick (who lat­er pub­lished a best-sell­ing biog­ra­phy called Charles Man­son Now). Fit­ting­ly strange, the ani­ma­tion reminds us of the very odd things going on inside Man­son’s mind. Off kil­ter as ever, he goes in all kinds of unex­pect­ed direc­tions.

via Vice

Relat­ed Con­tent:

The Time Neil Young Met Charles Man­son, Liked His Music, and Tried to Score Him a Record Deal

Tim­o­thy Leary’s Wild Ride and the Fol­som Prison Inter­view

Aleis­ter Crow­ley: The Wickedest Man in the World Doc­u­ments the Life of the Bizarre Occultist, Poet & Moun­taineer

The Essence of Hayao Miyazaki Films: A Short Documentary About the Humanity at the Heart of His Animation

Film­mak­er Hayao Miyaza­ki detests being referred to as the Japan­ese Walt Dis­ney. The great ani­ma­tor and sto­ry­teller admires the gor­geous ani­ma­tion of clas­sic Dis­ney films, but finds them lack­ing in emo­tion­al com­plex­i­ty, the ele­ment he prizes above all else.

Miyaza­k­i’s films are cel­e­brat­ed for their mys­ti­cal, super­nat­ur­al ele­ments, but they take shape around the human char­ac­ters inhab­it­ing them. Plot comes lat­er, after he has fig­ured out the desires dri­ving his peo­ple. “Keep it sim­ple,” he coun­sels in Lewis Bond’s short doc­u­men­tary The Essence of Human­i­ty above. An inter­est­ing piece of advice, giv­en that a hall­mark of his 40-year career is his insis­tence on cre­at­ing real­is­tic three-dimen­sion­al char­ac­ters, warts and all.

Amer­i­can ani­ma­tors are also taught to sim­pli­fy. They should all be able to sum up the essence of their pro­posed fea­tures by fill­ing in the blank of the phrase “I want _____,” pre­sum­ably because such con­ci­sion is a nec­es­sary ele­ment of a suc­cess­ful ele­va­tor pitch.

As Bond points out, West­ern ani­mat­ed fea­tures often end with a con­ve­nient deus ex machi­na, free­ing the char­ac­ters up for a crowd pleas­ing dance par­ty as the cred­its roll.

Miyaza­ki doesn’t cot­ton to the idea of tidy, unearned end­ings, nor does he feel bound to grant his char­ac­ters their wants, pre­fer­ring instead to give them what they need. Spir­i­tu­al growth is supe­ri­or to wish ful­fill­ment here.

Such growth rarely hap­pens with­out time for reflec­tion, and Miyaza­ki films are notable for the num­ber of non-ver­bal scenes where­in char­ac­ters per­form small, every­day actions, a num­ber of which can be sam­pled in Bond’s doc­u­men­tary. The beau­ti­ful­ly-ren­dered weath­er and set­tings have pro­vid­ed clues as to the char­ac­ters’ devel­op­ment, ever since the love­ly scene of cloud shad­ows skim­ming across a field in his first fea­ture, 1979’s The Cas­tle of Cagliostro.

Relat­ed Con­tent:

Watch Hayao Miyaza­ki Ani­mate the Final Shot of His Final Fea­ture Film, The Wind Ris­es

Watch Sher­lock Hound: Hayao Miyazaki’s Ani­mat­ed, Steam­punk Take on Sher­lock Holmes

Hayao Miyazaki’s Mas­ter­pieces Spir­it­ed Away and Princess Mononoke Imag­ined as 8‑Bit Video Games

French Stu­dent Sets Inter­net on Fire with Ani­ma­tion Inspired by Moe­bius, Syd Mead & Hayao Miyaza­ki

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, opens in New York City next month. Fol­low her @AyunHalliday

Terry Gilliam’s Lost Animations from Monty Python and the Holy Grail Are Now Online

This year marks the 40th anniver­sary of Mon­ty Python and the Holy Grail and as the group has always been upfront about shame­less­ly milk­ing their fans for cash, there’s a new ver­sion of the Blu-Ray out, and a new print tour­ing the world. John Cleese and Eric Idle are cur­rent­ly also on an Amer­i­can tour, shar­ing the stage as a duo for the first time. Michael Palin has a book tour for the third vol­ume of his diaries. Ter­ry Jones is still work­ing on movies and plug­ging char­i­ties on his Twit­ter stream. Ter­ry Gilliam has an auto­bi­og­ra­phy com­ing out this month. And Gra­ham Chap­man, despite his beau­ti­ful plumage, is still dead.

How­ev­er, the Pythons are giv­ing a few things away and one of them is the above com­pi­la­tion of unused ani­ma­tions by Gilliam from the Holy Grail. They can be found on the new Blu-Ray, but the group’s offi­cial Youtube chan­nel is shar­ing them-—first with Gilliam’s com­men­tary, then with sound effects—for free.

These ani­ma­tions are links between the skits that make up Holy Grail, and include drag­ons, giants, and a very large snail. Gilliam took a lot of the illus­tra­tions that he didn’t do him­self from a book on illu­mi­nat­ed man­u­scripts, and, see­ing them all togeth­er in one go, one can imag­ine an alter­na­tive uni­verse where the ani­ma­tor makes an entire movie this way. (On the com­men­tary track, he half-jok­ing­ly describes him­self as “the man who could have gone on to become a great ani­ma­tor but was forced into live action film.”)

As per Python, a lot of the com­men­tary track berates the view­er for throw­ing mon­ey away on a redun­dant ver­sion of what the con­sumer prob­a­bly owns, and how Gilliam isn’t get­ting paid enough to do this. (Cue some coinage sound effects and Gilliam gets back on mic.)

If this kind of archiv­ing is going on, it would be inter­est­ing to know the sta­tus of Gilliam’s oth­er ani­ma­tions for both Python and the var­i­ous shows he did in the years run­ning up to it. There are indeed some inter­est­ing ear­ly works out there that need a facelift.

As for Gilliam and the Holy Grail, he says he doesn’t watch it:

I’m glad it makes a lot of mon­ey and keeps me in the style I’ve grown accus­tomed to. But watch it again? Why? We’ve got lives to lead.

via Digg

Relat­ed con­tent:

Ter­ry Gilliam Reveals the Secrets of Mon­ty Python Ani­ma­tions: A 1974 How-To Guide

Mon­ty Python and the Holy Grail Re-Imag­ined as an Epic, Main­stream Hol­ly­wood Film

Watch Ter­ry Gilliam’s Ani­mat­ed Short, The Christ­mas Card (1968)

John Cleese’s Eulo­gy for Gra­ham Chap­man: ‘Good Rid­dance, the Free-Load­ing Bas­tard, I Hope He Fries’

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

An Animated Introduction to Jane Austen

From Alain de Bot­ton’ School of Life comes the lat­est in a series of ani­mat­ed intro­duc­tions to influ­en­tial lit­er­ary fig­ures. Pre­vi­ous install­ments gave us a look at the life and work of Mar­cel Proust and Vir­ginia Woolf. This one takes us inside the lit­er­ary world of Jane Austen. And, as always, de Bot­ton puts an accent on how read­ing lit­er­a­ture can change your life. “Jane Austen’s nov­els are so read­able and so inter­est­ing…” notes The School of Life Youtube chan­nel,” because she wasn’t an ordi­nary kind of nov­el­ist: she want­ed her work to help us to be bet­ter and wis­er peo­ple. Her nov­els [avail­able on this list] had a phi­los­o­phy of per­son­al devel­op­ment at their heart.” The video above expands on that idea. Enjoy.

Relat­ed Con­tent:

An Intro­duc­tion to the Lit­er­ary Phi­los­o­phy of Mar­cel Proust, Pre­sent­ed in a Mon­ty Python-Style Ani­ma­tion

An Ani­mat­ed Intro­duc­tion to Vir­ginia Woolf

Jane Austen Used Pins to Edit Her Aban­doned Man­u­script, The Wat­sons

Down­load 55 Free Online Lit­er­a­ture Cours­es: From Dante and Mil­ton to Ker­ouac and Tolkien

Down­load the Major Works of Jane Austen as Free eBooks & Audio Books

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Animated Map Lets You Watch the Unfolding of Every Day of the U.S. Civil War (1861–1865)

The bor­der-obsessed map ani­ma­tor known as Emper­or Tiger­star views war from a dis­tance. The Emper­or leaves such details as jour­nal entries, let­ters home, and tales of val­or and cow­ardice for oth­er his­to­ry buffs.

His niche is metic­u­lous­ly clock­ing the defeat and tri­umph in terms of shift­ing ter­ri­to­ries, by year, by fort­night, and, in the case of World War I and World War II, by day.

His five minute take on the Amer­i­can Civ­il War, above, leaves out most of the hair-rais­ing small scale skir­mish­es famil­iar from the pages of The Red Badge of Courage.

Trans-Mis­sis­sip­pi The­ater aside, it also makes plain how lit­tle ground the Con­fed­er­ates gained after 1861.

The Blue and the Gray are here rep­re­sent­ed by blue and red, with the mus­tard-col­ored dis­put­ed bor­der states pick­ing sides before the first minute is out. (The Union’s Naval Block­ade is in for­ma­tion with­in sec­onds.)

Leg­end:

Maroon = Con­fed­er­ate States of Amer­i­ca and ter­ri­to­ries

Red = Areas occu­pied by Con­fed­er­ate forces

Pink = Gains for that Day

Dark Blue = Unit­ed States of Amer­i­ca and ter­ri­to­ries

Blue = Areas occu­pied by Union forces.

Light blue = Gains for that day

Yel­low = Bor­der states / dis­put­ed areas.

The mag­ni­tude is mov­ing, espe­cial­ly when paired with ground-lev­el obser­va­tions, be they fic­tion­al, his­tor­i­cal or eye­wit­ness.

Even the place-names on the map, which now were mere­ly quaint, would take on the sound of crack­ling flame and dis­tant thun­der, the Bib­li­cal, Indi­an and Anglo-Sax­on names of ham­lets and creeks and cross­roads, for the most part unim­por­tant in them­selves until the day when the armies came togeth­er, as often by acci­dent as on pur­pose, to give the scat­tered names a per­ma­nence and set­tle what man­ner of life future gen­er­a­tions were to lead.  

His­to­ri­an Shel­by Foote, The Civ­il War: A Nar­ra­tive

Relat­ed Con­tent:

Watch World War I Unfold in a 6 Minute Time-Lapse Film: Every Day From 1914 to 1918

Watch World War II Rage Across Europe in a 7 Minute Time-Lapse Film: Every Day From 1939 to 1945

“The Civ­il War and Recon­struc­tion,” a New MOOC by Pulitzer-Prize Win­ning His­to­ri­an Eric Fon­er

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, opens in New York City lat­er this fall. Fol­low her @AyunHalliday

Innovative Film Visualizes the Destruction of World War II: Now Available in 7 Languages

Back in June we high­light­ed Neil Hal­lo­ran’s 15 minute film, The Fall­en of World War II, which used “inno­v­a­tive data visu­al­iza­tion tech­niques to put the human cost of WW II into per­spec­tive, show­ing how some 70 mil­lion lives were lost with­in civil­ian and mil­i­tary pop­u­la­tions across Europe and Asia, from 1939 to 1945.” It’s a pret­ty stag­ger­ing illus­tra­tion of the dead­liest war. As the film went viral, Hal­lo­ran raised mon­ey that would enable him to devel­op new films explor­ing “oth­er trends of war and peace — from drones and ter­ror­ism to democ­ra­cy and peace­keep­ing.” He has also trans­lat­ed the film into six dif­fer­ent lan­guages. They all went online in the last few weeks. Here they are: Russ­ian, Japan­ese, Pol­ish, FrenchGer­man, and Ser­bian.

Above, you can watch the orig­i­nal in Eng­lish (cer­tain­ly worth doing if you were vaca­tion­ing in June), and you might also explore the accom­pa­ny­ing inter­ac­tive web site here.

Fol­low Open Cul­ture on Face­book and Twit­ter and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

Relat­ed Con­tent:

Free Online His­to­ry Cours­es

Watch World War II Rage Across Europe in a 7 Minute Time-Lapse Film: Every Day From 1939 to 1945

31 Rolls of Film Tak­en by a World War II Sol­dier Get Dis­cov­ered & Devel­oped Before Your Eyes

Dra­mat­ic Col­or Footage Shows a Bombed-Out Berlin a Month After Germany’s WWII Defeat (1945)

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