British Actors Read Poignant Poetry from World War I

The First World War (1914–1918) changed Britain to a degree that was unthink­able in 1914. Pre-war cer­tain­ties and val­ues such as hon­or, father­land and progress dis­in­te­grat­ed on the bat­tle­fields and trench­es in France and Bel­gium. New tech­nol­o­gy such as tanks, machine guns, grenades, flame throw­ers and poi­son gas were used to destroy the ene­my; con­stant fire for days on end was intend­ed to break the sol­diers in the trench­es. Unspeak­able hor­rors led to psy­cho­log­i­cal prob­lems of unknown pro­por­tions.

Cop­ing with these hor­rors dur­ing and after The Great War (as it’s still called in Britain today) seemed like a Her­culean task to poets — how do you put the unspeak­able into words? Some poets, e.g. Rupert Brooke, still cel­e­brat­ed the hero­ism of the Eng­lish sol­diers (e.g., 1914 II. Safe­ty), where­as oth­ers, such as Wil­fred Owen, tried to describe the hor­rors of this war (e.g., Dulce et Deco­rum Est).

Every year on the Sun­day clos­est to Novem­ber 11, Britain remem­bers the dead of the First World War. For Remem­brance Day 2012, famous British actors were asked to recite First World War poet­ry. The fin­ished clips were to be shown on TV that day. The video above shows three actors recit­ing four poems by Rupert Brooke and Wil­fred Owen (click the names of the actors for infor­ma­tion about them and the titles of the poems for the full text):

  1. Sean Bean reads Wil­fred Owen’s “Anthem for Doomed Youth
  2. Gem­ma Arter­ton reads Wil­fred Owen’s “Arms and the Boy
  3. Sophie Okone­do reads Rupert Brooke’s “The Sol­dier
  4. Sean Bean reads Wil­fred Owen’s “The Last Laugh

Bonus mate­r­i­al:

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

The Best of Open Culture 2012: Free Music, Film, Books, Life Advice & More

Anoth­er year gone by. Anoth­er 1200+ cul­tur­al blog posts in the books. Which ones did you like best? We let the data decide. Below, you’ll find the 17 that struck a chord with you.
Free Art Books from The Guggen­heim and The Met: Way back in Jan­u­ary, the Guggen­heim made 65 art cat­a­logues avail­able online, all free of charge. The cat­a­logues offer an intel­lec­tu­al and visu­al intro­duc­tion to the work of Calder, Munch, Bacon, and Kandin­sky, among oth­ers. Then, months lat­er, The Met fol­lowed suit and launched Met­Pub­li­ca­tions, a por­tal that now makes avail­able 370 out-of-print art titles, includ­ing works on Ver­meer, da Vin­ci, Degas and more.

The Best Ani­mat­ed Films of All Time, Accord­ing to Ter­ry Gilliam: Ter­ry Gilliam knows some­thing about ani­ma­tion. For years, he pro­duced won­der­ful ani­ma­tions for Mon­ty Python (watch his cutout ani­ma­tion primer here), cre­at­ing the open­ing cred­its and dis­tinc­tive buffers that linked togeth­er the off­beat com­e­dy sketch­es. Giv­en these bona fides, you don’t want to miss Gilliam’s list, The 10 Best Ani­mat­ed Films of All Time.

The Hig­gs Boson, AKA the God Par­ti­cle, Explained with Ani­ma­tion: Hands down, it was the biggest sci­en­tif­ic dis­cov­ery of the year. But what is the Hig­gs Boson exact­ly? Are you still not sure? Phd Comics explains the con­cept with ani­ma­tion.

Here Comes The Sun: The Lost Gui­tar Solo by George Har­ri­son: Here’s anoth­er great dis­cov­ery — the long lost gui­tar solo by George Har­ri­son from my favorite Bea­t­les’ song, “Here Comes the Sun.” In this clip, George Mar­tin (Bea­t­les’ pro­duc­er) and Dhani Har­ri­son (the gui­tarist’s son) bring the for­got­ten solo back to life. When you’re done tak­ing this sen­ti­men­tal jour­ney, also see anoth­er favorite of mine: gui­tarist Randy Bach­man demys­ti­fy­ing the open­ing chord of ‘A Hard Day’s Night’.

18 Ani­ma­tions of Clas­sic Lit­er­ary Works: From Pla­to and Shake­speare, to Kaf­ka, Hem­ing­way and Calvi­no: Over the years we have fea­tured lit­er­ary works that have been won­der­ful­ly re-imag­ined by ani­ma­tors. Rather than leav­ing these won­drous works buried in the archives, we brought them back and put them all on dis­play. And what bet­ter place to start than with a foun­da­tion­al text — Plato’s Repub­lic.

Ray Brad­bury Offers 12 Essen­tial Writ­ing Tips and Explains Why Lit­er­a­ture Saves Civ­i­liza­tion: In June, we lost Ray Brad­bury, who now joins Isaac Asi­mov, Arthur C. Clarke, Robert A. Hein­lein, and Philip K. Dick in the pan­theon of sci­ence fic­tion. In this post, we revis­it two moments when Brad­bury offered his per­son­al thoughts on the art and pur­pose of writ­ing — some­thing he con­tem­plat­ed dur­ing the 74 years that sep­a­rat­ed his first sto­ry from the last.

Free Sci­ence Fic­tion Clas­sics on the Web: Speak­ing of sci­ence fic­tion, we brought you a roundup of some of the great Sci­ence Fic­tion, Fan­ta­sy and Dystopi­an clas­sics avail­able on the web in audio, video and text for­mats. They include Orwell’s 1984, Hux­ley’s Brave New World, Asi­mov’s Foun­da­tion Tril­o­gy, C.S. Lewis’ Chron­i­cles of Nar­nia, many sto­ries by Philip K. Dick and Neil Gaiman, and much more. Find more great works in our col­lec­tions of Free Audio Books and Free eBooks.

This is Your Brain in Love: Scenes from the Stan­ford Love Com­pe­ti­tion: Can one per­son expe­ri­ence love more deeply than anoth­er? That’s what Stan­ford researchers and film­mak­er Brent Hoff set out to under­stand when they host­ed the 1st Annu­al Love Com­pe­ti­tion. Sev­en con­tes­tants, rang­ing from 10 to 75 years of age, took part. And they each spent five min­utes in an fMRI machine. It’s to hard watch this short film and not shed a hap­py tear.

Rare 1959 Audio: Flan­nery O’Connor Reads ‘A Good Man is Hard to Find’: In April of 1959–five years before her death at the age of 39 from lupus–Flannery O’Connor ven­tured away from her seclud­ed fam­i­ly farm in Milledgeville, Geor­gia, to give a read­ing at Van­der­bilt Uni­ver­si­ty. She read one of her most famous and unset­tling sto­ries, “A Good Man is Hard to Find.” The audio is one of two known record­ings of the author read­ing that sto­ry.

33 Free Oscar Win­ning Films Avail­able on the Web: On the eve of the 2012 Acad­e­my Awards, we scout­ed around the web and found 33 Oscar-win­ning (or nom­i­nat­ed) films from pre­vi­ous years. The list includes many short films, but also some long ones, like Sergei Bondarchuk’s epic ver­sion of War & Peace. Sit back, enjoy, and don’t for­get our col­lec­tion of 500 Free Movies Online, where you’ll find many great noir films, west­erns, clas­sics, doc­u­men­taries and more.

The Sto­ry Of Men­stru­a­tion: Walt Disney’s Sex Ed Film from 1946: Stay­ing with movies for a sec­ond, we also showed you a very dif­fer­ent mid-1940s Dis­ney pro­duc­tion – The Sto­ry of Men­stru­a­tion. Made in the 1940s, an esti­mat­ed 105 mil­lion stu­dents watched the film in sex ed class­es across the US.

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the WebWe spent some time track­ing down 23 free sto­ries and essays pub­lished by David Fos­ter Wal­lace between 1989 and 2011, most­ly in major U.S. pub­li­ca­tions like The New York­erHarper’sThe Atlantic, and The Paris Review. Enjoy, and don’t miss our oth­er col­lec­tions of free writ­ings by Philip K. Dick and Neil Gaiman.

Every­thing I Know: 42 Hours of Buck­min­ster Fuller’s Vision­ary Lec­tures Free Online (1975)In Jan­u­ary 1975, Buck­min­ster Fuller sat down to deliv­er the twelve lec­tures that make up Every­thing I Know, all cap­tured on video and enhanced with the most excit­ing blue­screen tech­nol­o­gy of the day. The lec­ture series is now online and free to enjoy, so please do so.

10 Great Per­for­mances From 10 Leg­endary Jazz Artists: Djan­go, Miles, Monk, Coltrane & More: It’s pret­ty much what the title says. Great per­for­mances by some of our great­est jazz artists. It starts with Bil­lie Hol­i­day singing “Strange Fruit.”

Sig­mund Freud Speaks: The Only Known Record­ing of His Voice, 1938On Decem­ber 7, 1938, a British radio crew vis­it­ed Sig­mund Freud at his newhome at Hamp­stead, North Lon­don. He was 81 years old and suf­fer­ing from incur­able jaw can­cer. Every word was an agony to speak. The record­ing is the only known audio record­ing of Freud, the founder of psy­cho­analy­sis and one of the tow­er­ing intel­lec­tu­al fig­ures of the 20th cen­tu­ry. Also see: Sig­mund Freud’s Home Movies: A Rare Glimpse of His Pri­vate Life.

Ser­i­al Entre­pre­neur Damon Horowitz Says “Quit Your Tech Job and Get a Ph.D. in the Human­i­ties”: Phi­los­o­phy pro­fes­sor and “ser­i­al entre­pre­neur” Damon Horowitz explains why he left a high­ly-paid tech career, in which he sought the keys to arti­fi­cial intel­li­gence, to pur­sue a Ph.D. in Phi­los­o­phy at Stan­ford. Read­ers will also enjoy The Illus­trat­ed Guide to a Ph.D.

Leonard Bernstein’s Mas­ter­ful Lec­tures on Music (11+ Hours of Video Record­ed in 1973)Deliv­ered at Har­vard in ’73, Leonard Bernstein’s lec­ture series, “The Unan­swered Ques­tion,” cov­ered a lot of ter­rain, touch­ing on poet­ry, lin­guis­tics, phi­los­o­phy and physics. But the focus inevitably comes back to music — to how music works, or to the under­ly­ing gram­mar of music. The mas­ter­ful lec­tures run over 11 hours. They’re added to our col­lec­tion of 650 Free Online Cours­es. You can also find Borges’ lec­tures at Har­vard here.

Kurt Vonnegut’s Eight Tips on How to Write a Good Short Sto­ry:  When it came to giv­ing advice to writ­ers, Kurt Von­negut was nev­er dull. He once tried to warn peo­ple away from using semi­colons by char­ac­ter­iz­ing them as “trans­ves­tite her­maph­ro­dites rep­re­sent­ing absolute­ly noth­ing.” In this brief video, Von­negut offers eight tips on how to write a short sto­ry.

Free Online Cer­tifi­cate Cours­es & MOOCs from Great Uni­ver­si­ties: A Com­plete List:  We gath­ered a list of 200 free mas­sive open online cours­es (MOOCs) offered by lead­ing uni­ver­si­ties. Most of these free cours­es offer “cer­tifi­cates” or “state­ments of com­ple­tion.” Many new cours­es start in Jan­u­ary 2013. So be sure to check it out. Also don’t miss our oth­er new resource col­lec­tion: 200 Free Kids Edu­ca­tion­al Resources: Video Lessons, Apps, Books, Web­sites & Beyond.

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Richard Ford Reads Raymond Carver’s ‘The Student’s Wife’; One of 14 Podcasts of Famous Writers Reading a Favorite Story

The Guardian recent­ly asked a group of dis­tin­guished authors to read one of their favorite short sto­ries. The result­ing pod­cast series began appear­ing on the news­pa­per’s Web site last Fri­day and will con­tin­ue through the 4th of Jan­u­ary. A few of the writ­ers chose wide­ly rec­og­nized mas­ter­pieces. Many select­ed more obscure works. So far, there are pod­casts of Zadie Smith read­ing “Umber­to Buti” by Giuseppe Pon­tig­gia, Ruth Ren­dell read­ing “Canon Alber­ic’s Scrap­book” by M.R. James, Simon Cal­low Read­ing “The Christ­mas Tree” by Charles Dick­ens, and Nadine Gordimer read­ing “The Cen­taur” by José Sara­m­a­go.

The Amer­i­can writer Richard Ford (The Sports­writer, Inde­pen­dence Day, Rock Springs) chose to read “The Stu­den­t’s Wife” by his late friend Ray­mond Carv­er. The sto­ry was first pub­lished in Amer­i­ca in 1976, in Carver’s debut short sto­ry col­lec­tion, Will You Please Be Qui­et, Please. It exem­pli­fies Carver’s direct, eco­nom­i­cal style. But don’t make the mis­take of call­ing Carv­er a “min­i­mal­ist” around Ford. He describes the sto­ry, and the rich­ness of Carver’s writ­ing, in The Guardian:

Its ver­bal resources are spare, direct, rarely poly­syl­lab­ic, restrained, intense, nev­er melo­dra­mat­ic, and real-sound­ing while being obvi­ous­ly lit­er­ary in intent. (You always know, plea­sur­ably, that you’re read­ing a made short sto­ry.) These affect­ing qual­i­ties led some dun­der­heads to call his sto­ries “min­i­mal­ist”, which they are most assured­ly not, inas­much as they’re full-to-the-brim with the stuff of human inti­ma­cy, of long­ing, of bare­ly unearth­able humour, of exquis­ite nuance, of pathos, of unlooked-for dred, and often of love–expressed in words and ges­tures not fre­quent­ly asso­ci­at­ed with love. More than they are min­i­mal, they are replete with the renew­ings and the fresh aware­ness­es we go to great lit­er­a­ture to find.

You can lis­ten to Ford’s read­ing of “The Stu­den­t’s Wife” below, and fol­low the rest of the sto­ries as they appear through Jan. 4, along with intro­duc­tions by the authors who select­ed them, at The Guardian.

Relat­ed Con­tent:

The New Yorker’s Fic­tion Pod­cast: Where Great Writ­ers Read Sto­ries by Great Writ­ers

A Christmas Carol, A Vintage Radio Broadcast by Orson Welles (1939)

Orson_Welles_1937

Image by Carl Van Vecht­en, via Wiki­me­dia Com­mons

I wager that we could all recount the plot points of A Christ­mas Car­ol by heart. Fur­ther­more, I wager that most of us inad­ver­tent­ly com­mit­ted these to mem­o­ry not by read­ing and re-read­ing Charles Dick­ens’ 1843 novel­la (avail­able in our Free eBooks and Free Audio Books col­lec­tions), but by hav­ing seen or heard a dif­fer­ent adap­ta­tion of it each Christ­mas. The work has pro­duced an almost con­fus­ing abun­dance of pro­duc­tions on film, tele­vi­sion, and the stage, from Thomas Edis­on’s 1910 silent short to a Doc­tor Who Christ­mas spe­cial two years ago. Beyond that, we have count­less reimag­in­ings, like the ani­mat­ed Mick­ey’s Christ­mas Car­ol fea­tur­ing Scrooge McDuck as Ebenez­er Scrooge, and loose­ly Christ­mas Car­ol-inspired projects, like Scrooged with Bill Mur­ray. The sto­ry has also made its way to the radio many times, most notably in the 1930s, when Camp­bel­l’s Soup would spon­sor its year­ly appear­ance. In 1939, the “Camp­bell Play­house” brought in two espe­cial­ly for­mi­da­ble thes­pi­ans, Orson Welles and Lionel Bar­ry­more, and you can lis­ten to the result at archive.org, or right below.

Welles, of course, came in as no stranger to adapt­ing lit­er­a­ture for radio; he’d pulled off his infa­mous­ly real­is­tic Hal­loween drama­ti­za­tion of H.G. Wells’ The War of the Worlds just the year before. My per­son­al favorite of his adap­ta­tions remains the haunt­ing­ly askew Orson Welles Show ver­sion of Carl Ewald’s My Lit­tle Boy, but I can’t deny that he brings an entire­ly suit­able tone of mild grandeur, ini­tial­ly stern but ulti­mate­ly pleased, to A Christ­mas Car­ol. Bar­ry­more, an actor of both the nine­teenth and twen­ti­eth cen­turies who man­aged to suc­ceed on stage, in silent films, and then in sound films, plays the now-arche­typ­al miser­ly cur­mud­geon Ebenez­er Scrooge with a style that, for my mon­ey, falls sec­ond only to Scrooge McDuck­’s. But then, we can’t go com­par­ing car­toon char­ac­ters to flesh-and-blood per­form­ers, and Dis­ney’s Scrooge sure­ly drew his own sig­na­ture miser­li­ness and cur­mud­geon­hood (not to men­tion his name) from Dick­ens’, a fig­ure already firm­ly lodged in our col­lec­tive hol­i­day con­scious­ness, thanks espe­cial­ly to per­for­mances like Bar­ry­more’s.

Relat­ed con­tent:

A Christ­mas Car­ol by Charles Dick­ens

Orson Welles Vin­tage Radio: The War of the Worlds That Pet­ri­fied a Nation

Cel­e­brate the 200th Birth­day of Charles Dick­ens with Free Movies, eBooks and Audio Books

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. Fol­low him on Twit­ter at @colinmarshall.

Writers’ Houses Gives You a Virtual Tour of Famous Authors’ Homes

 

I’ve always been some­what amused by the accounts of Paul Ver­laine and Arthur Rimbaud’s brief bohemi­an affair. The old­er, mar­ried, and inter­nal­ly tor­tured Catholic Verlaine’s pin­ing for the self-destruc­tive and pre­co­cious young Rim­baud always presents a ridicu­lous pic­ture in prose. But it’s a pic­ture that takes on much clear­er con­tours when, for the first time, I get to see the house they occu­pied on 8 Roy­al Col­lege Street (above). The image of the house, with its for­bid­ding brick façade, gives their real­ly pret­ty unpleas­ant sto­ry a grav­i­tas that lit­er­ary his­to­ry can’t approach. Whether seen in per­son or in a pho­to­graph, the effect of view­ing any revered author’s home is sim­i­lar: his­to­ries once sub­ject to biog­ra­phers’ caprice take on the irrefutable weight of phys­i­cal real­i­ty. And while I’d love to have the lux­u­ry of a pil­grim­age to all my lit­er­ary heroes’ homes, I’m con­tent with the next best thing: an inter­net tour in pic­tures. That’s exact­ly what one gets at the Writ­ers’ Hous­es site, which has col­lect­ed dozens of images of famous writ­ers’ homes, sourced main­ly from user pho­tos.

And so home­bod­ies like myself can read their favorite Edna St. Vin­cent Mil­lay son­nets while gaz­ing at her Auster­litz, NY home “Steeple­top” (below, a bit more mod­est than I’d imag­ined):

Like­wise, I can read Flan­nery O’Connor’s grotesque lit­tle sto­ries and be con­tin­u­al­ly amazed that she did not emerge from some Medieval clois­ter in a fiery South­ern wild but from the bright, ram­bling farm­house called “Andalu­sia” (below).

And while I can only con­nect Thomas Hardy’s coun­try goth­ic nov­els and bleak poet­ry with the ter­mi­nal despair of a man who nev­er leaves his fire­lit study in some stur­dy, for­mal estate, his lit­tle cot­tage (below) is real­ly kind of cheery and resem­bles some­thing out of Peter Jackson’s Shire (though Hardy’s “Max Gate” home in Dorch­ester is exact­ly what I pic­ture him in).

The Writ­ers’ Hous­es site allows you to browse by author, state, and city, with a sep­a­rate cat­e­go­ry for “inter­na­tion­al hous­es.” Its main page is a reg­u­lar blog with a wealth of cur­rent infor­ma­tion on writ­ers’ homes, replete with links to oth­er sites and sources. For lovers of trav­el and archi­tec­tur­al and lit­er­ary his­to­ry, this is not to be missed.

via Kot­tke

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Kickstart the Restoration of the Very First William S. Burroughs Documentary

If you’re into William S. Bur­roughs, maybe you’ve watched all the Bur­roughs-relat­ed mate­r­i­al we’ve fea­tured here on Open Cul­ture, like his 1981 Sat­ur­day Night Live appear­ance or the 1991 doc­u­men­tary Com­mis­sion­er of Sew­ers. But anoth­er doc­u­men­tary on Bur­roughs exists — the ear­li­est one of all — and we can’t show it to you. Nobody can show Bur­roughs: The Movie to you, or at least they can’t show it to you in any crisp, clear, acces­si­ble form. Sure you could pay between 25 and 90 dol­lars for a VHS copy on Ama­zon, but that mon­ey might be more pro­duc­tive­ly put toward restor­ing the orig­i­nal film. As you can see in the video above, such a restora­tion is in the works, pro­vid­ed the restor­ers can raise the $20,000 they need to do it on Kick­starter by the end of this month.

Aaron Brookn­er, nephew of Bur­roughs: The Movie’s direc­tor Howard Brookn­er, found a print of the film in good con­di­tion, but now needs the fund­ing to remas­ter it clean­ly into a mod­ern dig­i­tal form. Begun in 1979 and debuted on the BBC in 1983, the doc­u­men­tary includes inter­views not just with Bur­roughs but with Allen Gins­berg, Brion Gysin, Fran­cis Bacon, Her­bert Hun­ke, Pat­ti Smith, Ter­ry South­ern, and Lau­ren Hut­ton. Howard Brookn­er, who died in 1989, made it as his New York Uni­ver­si­ty film school the­sis, and to oper­ate the cam­era and record the sound he enlist­ed two soon-to-be famous class­mates, Tom DiCil­lo and Jim Jar­musch. As of this writ­ing, Aaron Brookn­er has received $9,425 in pledges, near­ly half of his goal. Bur­roughs enthu­si­asts inter­est­ed in chip­ping in — back­ing pre­mi­ums include lim­it­ed-edi­tion DVDs, nev­er-before-heard audio record­ings, and Bur­roughs: The Movie pho­to­books — should vis­it the pro­jec­t’s Kick­starter page.

Relat­ed con­tent:

William S. Bur­roughs Reads His First Nov­el, Junky

William S. Bur­roughs on the Art of Cut-up Writ­ing

Beat Writer William S. Bur­roughs on Sat­ur­day Night Live, 1981

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

The Complete Sherlock Holmes Now Free on the Kindle

It’s sure­ly worth giv­ing you the quick heads up that, start­ing today, “the com­plete col­lec­tion of Sir Arthur Conan Doyle’s Sher­lock Holmes tales, both long and short, have been com­piled togeth­er for the first time.” The Com­plete Sher­lock Holmes (down­load it here) is free on the Kin­dle thanks to Simon & Schus­ter. Unlike many free texts, the for­mat­ting looks quite nice on my Kin­dle Paper­white as well as on the iPad using the Free Kin­dle app. So, we’re glad­ly adding this one to our col­lec­tion of 375 Free eBooks, which gives you imme­di­ate access to many more clas­sics.

NOTE: We have unfor­tu­nate­ly dis­cov­ered that this par­tic­u­lar text is not avail­able in some coun­tries. Sor­ry, there was no way for us to know that in advance. But, fear not, you can find oth­er ver­sions of Sher­lock Holmes on the web. Give these links a try:

Doyle, Arthur Conan - The Adven­tures of Sher­lock Holmes

via @kirstinbutler/The Verge

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20 Animations of Classic Literary Works: From Plato and Dostoevsky, to Kafka, Hemingway & Bradbury

Yes­ter­day we fea­tured Piotr Dumala’s 2000 ani­ma­tion of Fyo­dor Dostoyevsky’s clas­sic nov­el, Crime and Pun­ish­ment, and it remind­ed us of many oth­er lit­er­ary works that have been won­der­ful­ly re-imag­ined by ani­ma­tors — many that we’ve fea­tured here over the years. Rather than leav­ing these won­drous works buried in the archives, we’re bring­ing them back and putting them all on dis­play. And what bet­ter place to start than with a foun­da­tion­al text — Pla­to’s Repub­lic. We were tempt­ed to show you a clay­ma­tion ver­sion of the sem­i­nal philo­soph­i­cal work (watch here), but we decid­ed to go instead with Orson Welles’ 1973 nar­ra­tion of The Cave Alle­go­ry, which fea­tures the sur­re­al artis­tic work of Dick Oden.

Stay­ing with the Greeks for anoth­er moment … This one may have Sopho­cles and Aeschy­lus spin­ning in their graves. Or, who knows, per­haps they would have enjoyed this bizarre twist on the Oedi­pus myth. Run­ning eight min­utes, Jason Wish­now’s 2004 film fea­tures veg­eta­bles in the star­ring roles. One of the first stop-motion films shot with a dig­i­tal still cam­era, Oedi­pus took two years to make with a vol­un­teer staff of 100. The film has since been screened at 70+ film fes­ti­vals and was even­tu­al­ly acquired by the Sun­dance Chan­nel. Sep­a­rate videos show you the behind-the-scenes mak­ing of the film, plus the sto­ry­boards used dur­ing pro­duc­tion.

Eight years before Piotr Dumala tack­led Dostoyevsky’s Crime and Pun­ish­ment, Dumala pro­duced a short ani­mat­ed film based on The Diaries of Franz Kaf­ka. Once again, you can see his method, known as “destruc­tive ani­ma­tion,” in action. It’s well worth the 16 min­utes. Or you can spend time with this 2007 Japan­ese ani­ma­tion of Kafka’s cryp­tic tale of “A Coun­try Doc­tor.” And if you’re still han­ker­ing for ani­mat­ed Kaf­ka, don’t miss Orson Welles’ Nar­ra­tion of the Para­ble, “Before the Law”. The film was made by Alexan­der Alex­eieff and Claire Park­erwho using a tech­nique called pin­screen ani­ma­tion, cre­at­ed a longer film adap­ta­tion of Niko­lai Gogol’s sto­ry, “The Nose.” You can view it here.

The ani­mat­ed sequence above is from the 1974 film adap­ta­tion of Her­man Hes­se’s 1927 nov­el Step­pen­wolfIn this scene, the Har­ry Haller char­ac­ter played by Max von Sydow reads from the “Trac­tate on the Step­pen­wolf.” The visu­al imagery was cre­at­ed by Czech artist Jaroslav Bradác.

In 1999, Alek­san­dr Petrov won the Acad­e­my Award for Short Film (among oth­er awards) for a film that fol­lows the plot line of Ernest Hemingway’s clas­sic novel­la, The Old Man and the Sea (1952). As not­ed here, Petrov’s tech­nique involves paint­ing pas­tels on glass, and he and his son paint­ed a total of 29,000 images for this work. (For anoth­er remark­able dis­play of their tal­ents, also watch his adap­ta­tion of Dos­to­evsky’s “The Dream of a Ridicu­lous Man”.) The Old Man and the Sea is per­ma­nent­ly list­ed in our col­lec­tion of Oscar Win­ning Films Avail­able Online and our col­lec­tion of 700 Free Movies Online.

Ita­lo Calvi­no, one of Italy’s finest post­war writ­ers, pub­lished Ital­ian Folk­tales in 1956, a series of 200 fairy tales based some­times loose­ly, some­times more strict­ly, on sto­ries from a great folk tra­di­tion. Upon the col­lec­tion’s pub­li­ca­tion, The New York Times named Ital­ian Folk­tales one of the ten best books of the year.  And more than a half cen­tu­ry lat­er, the sto­ries con­tin­ue to delight. Case in point: in 2007, John Tur­tur­ro, the star of numer­ous Coen broth­ers and Spike Lee films, began work­ing on Fiabe ital­iane, a play adapt­ed from Calvi­no’s col­lec­tion of fables. The ani­mat­ed video above fea­tures Tur­tur­ro read­ing “The False Grand­moth­er,” Calvi­no’s rework­ing of Lit­tle Red Rid­ing Hood. Kevin Ruelle illus­trat­ed the clip, which was pro­duced as part of Fly­p­me­di­a’s more exten­sive cov­er­age of Tur­tur­ro’s adap­ta­tion. You can find anoth­er ani­ma­tion of a Calvi­no sto­ry (The Dis­tance of the Moon) on YouTube here.

Emi­ly Dick­in­son’s poet­ry is wide­ly cel­e­brat­ed for its beau­ty and orig­i­nal­i­ty. To cel­e­brate her birth­day (it just passed us by ear­li­er this week) we bring you this lit­tle film of her poem, “I Start­ed Early–Took My Dog,” from the “Poet­ry Every­where” series by PBS and the Poet­ry Foun­da­tion. The poem is ani­mat­ed by Maria Vasilkovsky and read by actress Blair Brown.

E.B. White, beloved author of Char­lot­te’s WebStu­art Lit­tle, and the clas­sic Eng­lish writ­ing guide The Ele­ments of Style, died in 1985. Not long before his death, he agreed to nar­rate an adap­ta­tion of “The Fam­i­ly That Dwelt Apart,” a touch­ing sto­ry he wrote for The New York­er. The 1983 film was ani­mat­ed by the Cana­di­an direc­tor Yvon Malette, and it received an Oscar nom­i­na­tion.

Shel Sil­ver­stein wrote The Giv­ing Tree in 1964, a wide­ly loved chil­dren’s book now trans­lat­ed into more than 30 lan­guages. It’s a sto­ry about the human con­di­tion, about giv­ing and receiv­ing, using and get­ting used, need­i­ness and greed­i­ness, although many fin­er points of the sto­ry are open to inter­pre­ta­tion. Today, we’re rewind­ing the video­tape to 1973, when Sil­ver­stein’s lit­tle book was turned into a 10 minute ani­mat­ed film. Sil­ver­stein nar­rates the sto­ry him­self and also plays the har­mon­i­ca.

Dur­ing the Cold War, one Amer­i­can was held in high regard in the Sovi­et Union, and that was Ray Brad­bury. A hand­ful of Sovi­et ani­ma­tors demon­strat­ed their esteem for the author by adapt­ing his short sto­ries. Vladimir Sam­sonov direct­ed Bradbury’s Here There Be Tygers, which you can see above.  And here you can see anoth­er adap­ta­tion of “There Will Come Soft Rains.”

The online book­seller Good Books cre­at­ed an ani­mat­ed mash-up of the spir­its of Franz Kaf­ka and Hunter S. Thomp­son. Under a buck­et hat, behind avi­a­tor sun­glass­es, and deep into an altered men­tal state, our nar­ra­tor feels the sud­den, urgent need for a copy of Kafka’s Meta­mor­pho­sis. Unwill­ing to make the pur­chase in “the great riv­er of medi­oc­rity,” he instead makes the buy from “a bunch of rose-tint­ed, will­ful­ly delu­sion­al Pollyan­nas giv­ing away all the mon­ey they make — every guilt-rid­den cent.” The ani­ma­tion, cre­at­ed by a stu­dio called Buck, should eas­i­ly meet the aes­thet­ic demands of any view­er in their own altered state or look­ing to get into one.

39 Degrees North, a Bei­jing motion graph­ics stu­dio, start­ed devel­op­ing an uncon­ven­tion­al Christ­mas card last year. And once they got going, there was no turn­ing back. Above, we have the end result – an ani­mat­ed ver­sion of an uber dark Christ­mas poem (read text here) writ­ten by Neil Gaiman, the best­selling author of sci-fi and fan­ta­sy short sto­ries. The poem was pub­lished in Gaiman’s col­lec­tion, Smoke and Mir­rors.

This col­lab­o­ra­tion between film­mak­er Spike Jonze and hand­bag design­er Olympia Le-Tan does­n’t bring a par­tic­u­lar lit­er­ary tale to life. Rather this stop motion film uses 3,000 pieces of cut felt to show famous books spring­ing into motion in the icon­ic Parisian book­store, Shake­speare and Com­pa­ny. It’s called  Mourir Auprès de Toi.

Are there impres­sive lit­er­ary ani­ma­tions that did­n’t make our list? Please let us know in the com­ments below. We’d love to know about them.

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